The Rebel Magazine

Q & A with Brian Scott Mednick

2012-02-23T13:11:00.006-08:00

Brian Scott Mednick is the first man to write a biography of Gene Wilder. His book "Gene Wilder: Funny and Sad" has been a huge success and earned him many rave reviews.

The Rebel: What was the last thing Gene Wilder did / has there been any news from him regarding new projects? Is he pretty much retired for good?
Brian scott Mednick: "Gene has not made a feature film since 1991's Another You, his last film with Richard Pryor. He appeared in three successful made-for-TV movies in 1999, but aside from his two guest appearances on Will & Grace in 2002 and 2003, which won him an Emmy Award, Gene has basically retired from acting. He spends his days writing in his study at home in the Stamford, Connecticut home Gilda left him in her will. Since writing his memoir in 2005, Gene has written two novellas and one short story collection. He is currently working on his next book entitled Humoresque."

(Above: Wilder on the set of Will & Grace)
The Rebel: How good do you think My French Whore is? Would it work as a film? Do people only like it because it's connected to Mr Wilder or is it a good book?
"My French Whore is a very good book - like Gene himself, it is quirky, funny, romantic, and utterly charming. It was based on an idea Gene had for a screenplay in the late 1960s called Hesitation Waltz. Gene actually sold the film rights to My French Whore and has written the screenplay but insists he will have no role as producer or actor. Unfortunately, I think it is currently in development hell as I have not heard anything recently about the film's production status. I think most people who have read My French Whore did so because of their admiration for Gene, and indeed, it is hard not to picture him as the protagonist."

The Rebel: When I read Wilder's autobiography I remember disliking the way he wrote about his relationship with his step daughter. There seemed to be something quite undignified about mentioning her in a negative way. Did you attempt to contact her to get her side of the story? What's your take on their relationship?
"Gene adopted his second wife's daughter from a previous marriage. Her name is Katie and she was very close to Gene. Sadly, she was a very emotionally unstable person and she has been estranged from Gene since 1986. Gene was baffled as to why she refused to speak to him, but it turned out she was dealing with some health problems in New York at the same time Gilda was being treated for ovarian cancer in L.A. Apparently Katie was jealous that Gene did not shower her with the same attention he did Gilda."

The Rebel: Wilder often talked in interviews about being shy. He said he was too shy to play Sid Ceaser etc Are you a shy guy?
"Well, most funny people are really shy. The comedy is often a mask for the shyness. It is funny that you mention Sid Caesar because Gene played a part based on Caesar in the London stage production of Neil Simon's Laughter on the 23rd Floor in 1996. People who know me well always think I am kidding when I say I am really shy, but yeah, I consider myself shy. Not as much now, but certainly when I was younger."
The Rebel: What are your top ten Gene Wilder moments? Which bits from which of his films never fail to move or amuse you?
"There are so many, it is hard to narrow them down, but I would say my favorites, in chronological order, are:
•The Producers - the little blue blanket scene.
•Start the Revolution Without Me - the scene where Gene is asked what his name is and he slowly erupts into a classic Wilder explosion of comic rage.
•Everything You Always Wanted to Know About Sex But Were Afraid to Ask - he really loved that sheep.
•Blazing Saddles - his first scene where Cleavon Little discovers him hanging upside down in his jail cell.
•The Little Prince - his exhilarating Lerner & Loewe number.
•Young Frankenstein - too many scenes to narrow down.
•The Adventure of Sherlock Holmes' Smarter Brother - two scenes in this film are maybe the funniest things Gene has ever done on-screen. One is where he drops a box of chocolates and tries to cover up by stuffing them in his mouth. The other is when he and Marty Feldman escape being sawed in half and wander into a cotillion, not realizing that while they were not sliced to bits, the seats of their trousers were.
•Silver Streak - the scene where Richard Pryor tries to get Gene to pass for black by rubbing shoe polish on his face.
•Stir Crazy - the scene where Gene and Pryor are being escorted in a prison line to their cell. After being hit in the stomach by a guard, Gene proceeds to freak out, doing everything from spitting on the guard’s belt, riding him like a horse, and acting like a squirrel. Teamwork is truly defined as Pryor restores him to sanity, only to need him to do the same for him when he begins to lose it.
•Hanky Panky - Gene and Gilda had a great bit where they are flying in a small plane and Gene refuses to accept that the pilot is dead and he must land the plane.
•Haunted Honeymoon - this is a wrongly maligned film that has many hysterically funny scenes, the best being Gene pretending the butler's legs are his when confronted by cops in the basement.

The Rebel: If you had been invited to attend a screening of Funny About Love before it went on general release and asked if you felt any changes were needed to be made what suggestions (if any) would you offer?
"Funny About Love does not rank as one of Gene's greatest films, but it is not as bad as most critics at the time made it out to be. I am not sure what changes I would have made. It's a cute film with some very funny moments, but it's a film that relies heavily on Gene's charm to carry it."
The Rebel: Have you ever seen the French film that inspired The Woman In Red (Pardon My Affaire) are there any French films you are a fan of?
"I saw Pardon Mon Affaire, the film that Gene remade as The Woman in Red, and I honestly did not like it. I thought Gene's version was funnier, had a brisker pace, and much better performances. The Woman in Red is a film that really holds up - and how could you not love the Stevie Wonder soundtrack?"
The Rebel: I read somewhere that Trading Places was written with Wilder/Pryor in mind. Do you think it would have been a better film with Murphy and Akroyd replaced by Gene and Richard?
"Trading Places is a great film and has probably the best performances Eddie Murphy and Dan Aykroyd have ever given. It's a dynamite script, but I am admittedly prejudiced and think Wilder and Pryor could have made it even better. Pryor dropped out of doing the film to instead make The Toy with Jackie Gleason. Murphy, who was cast in Pryor's place, didn't want to work with Gene because, according to Murphy biographer Frank Sanello, "he feared being too closely identified with Pryor's screen persona." Murphy had helped Paramount Pictures score a major hit with 48HRS., so when he lobbied to get Gene replaced with Dan Aykroyd, the studio acquiesced."
The Rebel: Which of Wilder's leading ladies do you consider the most attractive?
"Gene has had many attractive leading ladies - Jill Clayburgh, Madeline Kahn, Teri Garr, JoBeth Williams, Kelly LeBrock, and, of course, Gilda. If you want to talk about pure physical beauty, Kelly LeBrock would have to be my answer. I interviewed her for the book and she is also one of the nicest, most down to earth people you could ever hope to talk to."
(Photo Above: Gene / Kelly)
The Rebel: Why should people buy your book?
"Because if they don't they will get swine flu! But seriously...it is a very honest portrait of a great artist's life and career. The nicest compliments I have gotten about the book have been from people who aren't necessarily huge Gene Wilder fans who said they found the book so interesting and entertaining. It also has twenty-two pages of great photos, some of which are extremely rare. It's available from Amazon.com in both hard copy and Kindle versions."

(Above photo: Brian Scott Mednick with Gene Wilder at a Gilda's Club event in 1993)

"Friends & Family" exhibition in Hoxton, sat 25th feb 6pm till 11pm

2012-02-21T06:50:00.000-08:00
33-34 Hoxton Square is the place to be this Saturday. "Friends & Family" is a special exhibition curated by Adrian, Kai and Kenny Schachter.
Check out the line up of artists for the show:

Stuart Gurr, Rachel Harrison, Ricci Albenda, Rob Pruitt, Brian Clarke, Zaha Hadid, Tracey Emin, Damien Hirst, Keith Tyson, Barry Reigate, Robert Chambers, Maria Pergay, Arik Levy, Martin Usborne, Tom Dixon, Vito Acconci, Franz West, George Condo, Josh Smith, Joe Bradley, Paul Thek, Sigmar Polke, William Pope.L, Marc Newson, Richard Artschwager, Peter Hujar, Misaki Kawai, Brendan Cass, Richard Woods, Donald Baechler, Keith Coventry, Lars Whelan,Hester Finch, Cain Caser, Muir Vidler, Jasper Joffe & Harry Pye, John Isaacs, Keith Coventry, Marianne Vitale, Simon English, Rod Clark, Mary Heilmann, and Adrian, Kai, Gabriel, Sage and Kenny Schachter, Ilona Rich, Kevbe Otobo, Tom Gould, Harry Rüdham, Alfie Caine, George Morony, Eleni Khouri, Tom Harwood, Ollie Wink, Antonia Osgood, Louis Norman, Matilda Wyman, Jessy Wyman, Katie Wyman, Calum Knight, Eugenie Clive-Worms, Emmanuelle Zaoui and Savannah Murphy.

There will be musical Performances from Liz and the Ligers, Richard Kilstock, Rebecca Shamoon, Raff Law, George Gardner, Timmy Delaney,Jonah Freud, Natasha Darby, Jasper Hunt and Ishan Kapoor.
(Photo by Aleks Wojcik)
The highlight of the evening is likely to be Jasper & Harry's 99p shop In their bid to give everyone the chance to become an art collector Joffe & Pye will be selling artworks for just 99p each!
Things you'll be able to purchase for less than a pound include old 7 inch singles with new designer sleeves...
(Above: Stevie Wonder)
(Above: Elvis Costello)
(Above: Frankie Laine)
(Above: Birken & Gainsbourg)
(The Specials)

"She Doesn't Care" curated by Liam Newnham

2012-02-17T13:31:00.001-08:00
A date has been set for "She Doesn't Care". This group show, organised by Liam Newnham, opens on the 5th of April.
The 90% confirmed lineup for the show is:
Wayne Horse, Sickboy, Nathan Cash Davidson, Edward Fornieles, Ben Cavers
Sweet toof, Tek 33, Barry Reigate, Nemo, Jasper Joffe, Harry Pye, Cedar Lewisohn, Adam Christensen, Run, Ben Young, Daniel Schwitzer, Gordon Beswick.
The venue for the show is EB & Flow Gallery in Shoreditch. EB & Flow was created by Margherita Berloni and Nathan Engelbrecht after they met each during their Art Business studies at Sotheby's in London. The gallery was established to specialize in emerging artists.
Harry Pye's contribution to the show will be a homage to Jean Dubbufet...

David Shrigley

2012-02-14T01:47:00.001-08:00

(Image above: A nice lady gives David Shrigley some flowers. The chap in the cap is none other than TV funnyman Harry Hill. Image below: me enjoying the free drinks)
I've always been a Shrigley fan. Last week I went to Old Burlington Street to see his solo show ("Arms Fayre") at the Stephen Friedman gallery. This show co-incides with David's major show at the Hayward which recently got a 5 star review in Time Out. The Independent rightly described the show recently as being: "Weird, funny, abject, silly, savage, moral and engaging." I wouldn't be too surprised if he was up for the Turner Prize soon.
Shrigley's work also appears at the 100 Mothers show which opens at the Contemprary Art Space Chester on the 8th of March.
(Above: Mother by David Shrigley)

A company called Polite have made a series of greetings cards which feature Shrigley's work. My favourite one expresses his love/hate relationship with public art.
David can seemingly turn his hand to anything - The show at Friedmans features ceramics, animation, and even a bit of taxidermy. He has also made work for "Art on the Underground" - It was funny to come out of Shrigley's Mayfair show and then see more of his work on the way home. Slowly Shrigley is taking over the world which is fine with me.

David Hockney at the Royal Academy

2012-02-09T10:42:00.000-08:00
I kept seeing posters for Hockney's "A Bigger Picture" show whenever I used the escalator on the underground. Every time I looked at it I felt a bit depressed.
The poster doesn't make me want to see the show. I think it makes Mr Hockney look as though he's painting a terrible backdrop for a low budget panto. At Tate Britain they often display the iconic Bigger Splash painting that helped make Hockney a household name. When you see the actual painting it's a real disappointment, it looks so much better when it's reproduced as a poster or postcard. So often now, whenever you pick up the London Evening Standard there are dull as dishwater rants from Hockney about cigarette smoking in public places. His contributions to the Tate's show of Turner's Watercolours were a bit poor. And there also seems to be an endless stream of less than essential Hockney books flooding the bookshops such as "Dog Days".
So... I went along to the R.A today with fairly low hopes and I'm glad to say I thought aspects of the exhibition were fantastic and I came away thinking that the show as a whole is definitely worth queuing up in the freezing cold for.
In 1964 Hockney claimed he felt he had to get away from England because he felt it was grey and dreary and, in order to be inspired, he needed to have the space and light you get in California.
All these decades later David Hockney now delights in being able to see the beauty he missed in his youth and says the landscapes in Yorkshire give him a "spatial thrill." He's also a man who loves his iPad...
Hockney: "What's really good about the iPad is it's speed. No other medium using colour is as fast, meaning you can capture quick lighting effects like nothing else. The spring is just spectacular this year, and I am getting it down."
(Above: "Arrival of Spring in Woldgate, East Yorkshire" by Hockney, 2011)
This time round, the paintings - some of which are 6 meters long - have to be seen to be believed and the postcards can't capture their power.
(Above: Wheat field near Fridaythorpe, 2005)

Dance Craze

2012-02-07T14:26:00.003-08:00

"Dance Craze: Rude Boys On The Road" is a new book available from acidjazz.bigcartel.com for about £8 or for about £6 if you go to FOP (just off Charing Cross Road).
It's written by Garry Bushell who made his name writing for Sounds magazine from 1978-85. Garry wrote the original Dance Craze magazine, was the first journalist to see The Specials play live and was the first journalist to interview Madness.
I rate this book, it's a pleasure to read and there's lots of great photos. I asked Mr Bushell to answer a few questions about 2-Tone via e-mail...
The Rebel: John Bradbury plays drums on both sides of the first 2-Tone single (Theme from Selecter and Gangsters) and he was also the composer of the last ever single released on the label. Do you rate him as a drummer?
Garry: "John’s drumming was perfect for the Specials. Sparse but solid. JB also played a key role personally in the whole 2-Tone phenomenon."
The Rebel: What was your take on Bernie Rhodes? Ultimately do you think of him as a good guy or a bad guy?
Garry: "Bernie was a chancer, not really someone you’d trust. He had been a used-car salesman and it showed. Tony Parsons, who knew him better than I did from the Clash days, used to call him “the lying printer”. Bernie so wanted to be McLaren it hurt, but he wasn’t as bright, I didn’t think, or as lucky. (He was Malcolm’s driver early doors.) The Specials thought he was a bad guy, obviously. To me he was more of a wannabe Machiavelli; a clown."
The Rebel: Madness and The Specials both did covers of old Prince Buster and Dandy Livingstone tracks - do you tend to prefer the 2-tone versions of songs like Enjoy Yourself, Rudy, Madness, Wondering Now etc more than the original?
Garry: "No! The originals were best."
The Rebel: How good a dancer are you? Are there any songs like Do Rock Steady that never fail to make you get up and dance?
Garry: "I dance like John Travolta in that film... the scene where he’s machine gunned in Pulp Fiction. ‘A Message To You Rudy’, ‘One Step Beyond’ and ‘Lip Up Fatty’ all work for me though. As do ‘Liquidator’/‘Long Shot Kick De Bucket’ etc they’re always guaranteed to get me on my feet, not that anyone who want to see that."
The Rebel:When was the last time you met or chatted to Jerry Dammers? Do you discuss music and politics with him or do you just talk about old times?
Garry: "Blimey, years ago. I’d love to see Jerry again; a genuinely fascinating bloke. I fancy seeing Spatial AKA live but acknowledge I’d be in a minority."
The Rebel: Can you imagine Buster Bloodvessel making a comeback? Do you think there is still a good album left in him?
Garry: "Yes. I think he could have a hit single again, with the right song. It’s a shame Doug and Nick Welsh fell out so badly because with Buster’s charisma and Nick’s song-writing ability they could have taken Bad Manners back into the jolly old zeitgeist. Doug fronted the Buster’s Ska Battalion charity single last year which could have charted with a bit of promotion. Came down the studio in Forest Hill with a home-baked cherry pie, which he generously dished out, and his dog, which wouldn’t stop barking along to the music. Crazy day."
The Rebel: "Do you like anything Terry Hall did post Fun Boy 3? Did you buy his solo stuff like Home, Laugh etc?
Garry: "I didn’t dislike it, but I didn’t buy any of it. A bit too wet for me. What’s Wrong With Me was okay, but I’d rather listen to Jennie Bellestar."
The Rebel:Who at Sounds shaired your enthusiam about 2-Tone? Were there any journalists who just didn't like them?
Garry: "Dave McCullough was into the Specials early doors, and so was Sylvie Simmons over in LA. I remember Pete Silverton reviewing the Bodysnatchers before they were signed, in his typically semi-sarcastic style. Eric Fuller, who was a big reggae purist, took against the bands, accusing them unfairly I always felt of ripping off Jamaican artistes."
The Rebel:Are there any bands around now that remind you of 2-Tone legends?
Garry: "Yes. Buster Shuffle from Hackney are good; and I like what King Hammond is doing – it’s just a shame he’s doing it on such a small scale these days. P45 are promising. I really like the sound of the Upsessions. The Dub City Rockers’ new album is worth hearing, not 2-Tone especially but ‘Trojan City Love’ is a great great song."
The Rebel:What's the best reason for buying your book?
Garry: "Three reasons: nostalgia, laughs and unseen pictures. Actually four reasons: you can also amuse yourself spotting the proof-reading errors..."
The publisher wanted to reprint my original Dance Craze mag, but I think this has turned out far better than that would have done because I’ve gone back to my notes and diaries from the time and expanded the pieces I did back then. I’ve tried to capture the fun of the period."
The Rebel: Which of the 2-tone acts were the best live band?
Garry: "For me, Selecter because they had so much energy live (and because I was besotted with Pauline). Can I add that their song ‘Celebrate The Bullet’ is worth going back to - an under-appreciated thing of beauty."
The Rebel: Who is the nicest person or most likeable person you've met connected with 2-Tone?
Garry: "Tough question. A lot of nice people: Lee Thompson, Dougie, Charley Anderson, Neville Staple and Lynval are all diamonds. And I do like Rhoda, even though she can be a bit prickly – she came round my house once and demanded I throw someone out! Okay, it was Dave Courtney and opinions vary, but it was my house and I’ll have who I like there. I’ll go for Judge Dread because he was always funny. And because he winds up the po-faced."

Lloyd Johnson exhibition

2012-01-24T12:25:00.000-08:00
Paul Gorman has curated a show that celebrates a legendary tastemaker. Lloyd Johnson ran the famous "modern outfitters" in World's End which throught the 1980s was where all the best pop stars shopped.
(Above: Siouxie Sioux wears a Johnson garment in Feb 82)
Nick Logan (the founder of The Face magazine)has described this exhibition as being long overdue. "It's time Lloyd Johnson's story was told; he is a great guy, one of the crucial figures in the development of British style."
The show is on at Chelsea space, 16 John Islip St SW1P (two minutes from Pimlico tube)
Above: George Micheal wearing a Lloyd Johnson jacket in the video for his hit Faith in 88.

I went to the very well attended opening. It felt like there was a lot of love in the room for this guy whose fans included George Micheal, Joe Strummer, Keith Richards, Tom Waits, and even Bob Dylan.
Above: Duggie Fields.
Above: Paul Young

Best In Brixton benefit weekender

2012-01-16T13:45:00.000-08:00
A member of Alabama 3 I met in the pub tonight was very keen for The Rebel magazine to spread the word about a special event taking place on Friday 27th and Saturday 28th of Jan (8pm - 6am)in Brixton.
Many interesting folk are involved including: Mr Nice a.k.a Howard Marks, The Thirst, Rodney P, Dub Pistols, Congo Natty & Tenor Fly. Plus there will be DJ sets from Adamski, Stereo MCs, Basement Jaxx and many others, Alabama 3 will be doing an acoustic set. Blah blah blah.
The venue is Brixton Jamm 261 Brixton Road London SW9 6LH
You can buy tickets from brixtonjamm.org
info@brixtonjamm.org tel: 07517465613
They are raising much needed funds for the Triangle Adventure Playground

Triangle Adventure Playground has been around since 1957 - they need your help to stay open.
100% of the door entrance will go to the Triangle AP.

Steve Nieve & The Playboys

2012-01-14T11:12:00.000-08:00

(Above: Steve Nieve around the time of Oliver's Army)

When I was 15 years old my favourite thing on TV was a live chat show called The Last Resort with Jonathan Ross. The house band for the show were fantastic. Recently a friend came across details of some of the guest singers that performed with Steve Nieve and The Playboys and, thanks to you tube, I had a really nice trip down memory lane.
The band leader was of course Steve Nieve, Pete Thomas was on drums, The guitarist was Kevin Armstrong and the bass player (who looked a bit like Tom Jones) was Steve Lawrence.
Their first guest (on 18th of Sept 1987)was Paul Young & Q Tips who performed great versions of both The Letter Song and Sweet Soul Music.
The next show (25.09.1987) which is also on You Tube featured the fabulous Barry Humphries who joined Les McKeown and Ross to sing a stonking good version of the Bay City Roller's classic "Shang A Lang". I love Pete's drums on this track. I'm also impressed by Barry's dance moves.
On the 2nd of Feb the late Billy Mackenzie put in an appearance. A week later there was both Sting and Was Not Was but the highlight of that show was an appearance by America's funniest white guy: Steve Martin.
On 16.10.1987 the show featured decent interviews with John Peel and George Harrison. The live music was provided by a Polish singer called Basia (best known in the UK for her work with Matt Bianco).
On 30.10.1987 they had Chris Isaak who did his best song Blue Hotel.
On 06.11.1987 they were joined by the soul legend Alexander O'Neal who performed a great version of Otis Redding's Sitting On The Dock of the Bay.
On 13.11.1987 they had one of the best singers of all time: Roy Orbison performing on of the best songs of all time: "In Dreams."
On 20.11.1987 there's a bit of a drop in quality and we get Donny Osmond singing Puppy Love.
On 27.11.1987 Paul McCartney joins the band to do a rock and roll version of the old Jazz standard "Don't Get Around Much Anymore" and a great version of "I Saw Her Standing There".
On 04.12.1987 the guest was Mick Hucknall.
On 11.12.1987 the music is provided by the legendary Tom Jones.
On 18.12.1987 Jonathan introduces each member of The Playboys and their slide guitar playing guest B.J Cole. Midge Ure then performs a surprisingly decent version of Cream's Strange Brew.
A new series of The Last Resort began on 06.05.1988.
Sadly Kevin Armstrong was no longer in the band (Dame David Bowie had poached him for his Tin Machine project). Guests for that season were Mica Paris, legend Nanci Griffith, Rolf Harris, Elton John,Danny Wilson, Lyle Lovett, k d lang, Andrew Roachford, Bobby McFerrin,a sharp dressed Kevin Rowland performs The More I See You, The More I Want You, Aswad do Jail House Rock andFairground Attraction end the series with a pleasant take on "Walking After Midnight"
Steve would carry on being Jonathan's music director well into the early 1990s. Guests included the great and the good: Nick Heyward, Robert Palmer, Julian Cope, Graham Parker, Norman Lovett, former Go Go: Jane Wiedlin, Tiffany, Jools Holland, Lenny Kravitz, Mark E. Smith, Lloyd Cole & Robert Quine, Harry Dean Stanton, Alex Chilton, They Might Be Giants, and James Brown. There were some great moments but I always thought it was a shame Steve and the band didn't record an album with guest singers.

100 Mothers come to Chester

2012-01-08T11:21:00.000-08:00
The 100 Mothers exhibition will be on show in Chester from March the 8th until March the 30th. Below Mat Humphrey talks about how he felt when he made his painting...

Mat Humphrey:"For me, the notion of painting my mother was very difficult, and also extremely rewarding. It forced me to sit down and think harder and more specifically about her than at any other time in my life. It also made me look harder at her face than perhaps I had before. I photographed her many different times, with the portrait in mind, and spent time watching her different expressions. I saw how the years had affected her skin and the way it creased and folded as different emotions took shape in the muscles around her eyes and mouth. I waited until I felt like I had captured some of the glint in her eyes that betrayed her impish humour.
The colours I used were emotionally triggered. I used browns for her skin tones, as it felt right. Earthy and permanent. I gave her eyes a turquoise that belied the power, not the true colour of her gaze, and I gave her iconic gold radiations, as she is my creator, not god. I found it hard to end the painting. I didn’t want an end. It takes no psychologist to work out why. She was moved when she saw the result, and I was relieved at that. It felt like an honest and emotional thing to do, and I believe that everyone, whether they consider themselves to be an artist or not, should paint a picture of their mother."

The show features work by 100 artists including: Hugh Mendes, Jamie Dyson, Katie Jones, Jessica Voorsanger, Flo Perry, Anj Smith, Gavin Toye, Kes Richardson, Daisy De Villeneuve, Geraldine Swayne, Guy Allot, Dinos Chapman, Chantal Joffe, Vic Reeves, Grayson Perry, Adam Dant, George Shaw, John Strutton, Richard Wathen, Beverley Daniels,David Shrigley, Peter Harris, Bob & Roberta Smith, Nicola Hicks, Sean O'Connor, Billy Childish, Olivia Plender, Chris Tosic, Lucy Pawlak, Marcus Cope, Michelle Sarah England, Sarah Sparkes, Chris Coombes,Kyle Hawkins, Phil Jones, Neil Innes, Sandra Turnbull, Adrian R. Shaw, Catrin Huber, Helen Barff, Mari Sunna,Martin Dukes, Alex Hamilton, August Kunapu, Lee Maelzer, Helen Barff, Eva Bensasson, Josie McCoy, Kay Harwood,Edith Flowers, Cian Quayle, Julian Wakeling, Ed Ward, Mat Humphrey, Jasper Joffe, Frances Scott,Francesca Sharkey, Isaac Quaye, Rowland Smith, Caroline List, Matthew Stradling, Sam Hallows,Mimei Thompson, Dan Kennedy-Martin, Gordon Beswick.

The private view for The 100 Mothers show at Chester will be on Thursday 8th of March from 4.30pm until 6.30pm.
Chester based artist Jo Thorne will be in charge of the hang.
Proffesor Neil Grant says: "Contemporary Art Space Chester (CASC) is based in a new gallery development at the Kingsway site of the University of Chester. The site contains the Art and Design Department where students study Fine Art, Photography and Graphic Design. Chester has not had a contemporary art space and I hope this development will bring challenging contemporary art to the attention of the Chester public and inspire the students and staff working in the department. Throughout the academic year the gallery will display the latest work from students and staff and host at least two major shows from invited artists."

(Above image by Jo Bruton)

The collection of paintings was put together by Harry pye with help from Emma Ridgway, Mat Humphrey and Jasper Joffe. Over the years vital support for the project has come from Elizabeth Haarala, Eilidh Crumlish, Edward Ward and Gordon Beswick. Please note the paintings are not for sale individualy.
So far the paintings have been exhibited at the Oh Art Gallery in Bethnal Green, The North Edinburgh Arts Centre and The Sartorial Gallery.
(Above:The Mothers Show at Sartorial, Notting Hill)
(Above: The Mothers show in Edinburgh)

Introducing The Values

2011-12-29T15:40:00.000-08:00

The story of The Values began in 2010 with "Trojan Horse" - a protest song about the Nazi BNP leader Nick Griffin being given the red carpet treatment by the organisers of the BBC's Question Time show.
The lyrics for Trojan Horse were half inspired by a speech made by Jerry Dammers (who was one of the many people protesting outside the BBC building while the interview with the former Holocaust denier Nick Griffin was taking place). And half inspired by a Richard Herring comedy routine which compaired the apathy of young people today who don’t even bother to leave their house and vote with British people of the past who were willing to leave their country and join The International Brigade fighting against Franco's fascists.
Julian Wakeling, who is both the musical director of The Values and the producer of Trojan Horse previoulsy collaborated with Diane Charlemagne on dance tracks such as Under One Sky on the Drifting Soul label.
http://www.youtube.com/watch?v=bKWFyA-4EdY
Trojan Horse was sung by newcomer Marie Smith and featured a brilliant sax solo by Paul Speare (a former member of both Dexys and the TKO Horns).
(Above: Singer Marie Smith with Mick Jones, who makes a cameo in the Values video)
David Sheppard (who was has written well received biographies of both Elvis Costello and Brian Eno) heard the song and said:
"Noble lyrical sentiments and delicious backing track. Whoever wrote the organ line/hook deserves a hearty handshake."
Another fan of the song was Jon Wilde who has written for numerous magazines including Melody Maker, Loaded, The Guardian and Uncut. Wilde’s response couldn't have been much more enthusiastic…
“This is really, really, really fucking good. Best thing I've heard in ages, in fact. It's rootsy to the core and it's as real as thunder.
She might not know it as yet but the female vocalist is a natural. Her phrasing is impeccable. The interplay between her and the male vocalist, I could do with more of that. Great sax too... My simple gauge of a great song is that you want it to go on for another five minutes. I could do with another five minutes of this...When the "rap" comes in at the end, I want it to extend for a good while. Consider me a convert. More please.”
(Image Above: Paul Speare, Harry Pye, Gordon Beswick, Juilan Wakeling)
In September 2010 a special edition of The Rebel was launched at The Sartorial Gallery in Kings Cross. Each copy of The Rebel magazine came with a free 4 track e.p by The Values.

Tracks on the e.p were
1) Gez Richmond's Disgrace Remake of Trojan Horse
2) "No Justice" sung by Josiah Steadman
3) Somebody's Fool (feat. Vic Godard)
4) Me, Me, Me (with music written and produced by Andrew Petrie)

Videos for several Values tracks (made by Team Beswick & Pye) were screened on the night. Below is a clip from the Trojan Horse video featuring Ritchie Lamby, Andrew Petrie and Marcus Cope.

The Values are recording a cover of the ska classic "You're Wondering Now" for a compilation CD that will raise much needed funds for young people suffering with cancer.
The track which was produced by Wakeling and Pye features all the usual suspects like Mikey Georgeson on piano, Andrew Petrie on organ, Ritchie Lamby on guitars PLUS: Rob Jones on drums and trumpet.
Yolanda Speare on baritone sax and Paul Speare on tenor sax. As well as very special guest singer: Roland Gift.

Hits of the Year

2011-12-26T01:55:00.000-08:00

Vic Godard with Irvine Welsh - Blackpool E.P
Harry Pye: "This is the new CD I have the listened to the most over the last 12 months. The songs on this e.p. are both funny and sad. They remind me of classic tracks like Dead End Street The Kinks."
Euros Childs - Spin Tht Girl Around (Label: National Elf)
Liam Curtin: "This is quite simply the best new song I've heard this year. I first heard this performed live in August at 'NatNight' in Cardiff and subsequently as part of a 6Music Session and then finally in it's released form on former Gorky's Zygotic Mynci frontman Euros' latest album 'Ends'.
It's a beautiful track with just Euros' unique voice and piano. It amazes me how Euros seems to efortlessly come up with such gems, as he has released 7 solo studio albums since 2006. Another musical highlight of 2011 was his collaboration with Teenage Fanclub's Norman Blake, Jonny, whose
excellent debut lp was released at the end of January. You can download much of Euros' music for free from his website, including the 'Ends' lp: www.euroschilds.com/

You can hear a great live BBC radio session version of 'Spin That Girl Around' here:
http://www.bbc.co.uk/programmes/p00m6z5n

Tom Waits: Pay Me (Label: Anti/Epitaph)
Harry Pye: "(You're the same kind as) Bad As Me" rasps old Tom on the daft title track of his 17th studio album. My two favourite guitarists: Marc Ribot and Keith Richards are featured on several tracks which makes me happy. The best song on the album is quite a sad one. I don't know what type of music "Pay Me" is - it sounds kind of Irish and kind of French - anyway whatever it is I like it.

Y Niwl - Undegsaith (Label: Aderyn Papur)
Liam Curtin: "One of the best 7" singles I bought this year was 'Undegsaith' from North Walian instrumental surf-rock band Y Niwl. At 1 minute and 8 seconds long, it sounds to me like a long forgotten 60s tv theme. The first time I played this single I though 'is that it?' but that's the point I suppose.
Y Niwl (which translates as The Fog) have recently supported )and backed) Gruff Rhys on his 'Hotel Shampoo' tour and have been attracting some great reviews."
You can listen to Undegaith here:
Elvis Costello feat. Elmo: A Monster Went And Ate My Big Red Two (Label: D.N.A)
Robin Warren: "Wheeling in famous musicians to collaborate with the muppets of Sesame Street has produced some classic moments over the years, from Cab Calloway serenading the Two-Headed Monster, Harry Belafonte assisting The Count in his coconut counting duties and Stevie Wonder teaching Grover how to scat. Frankly, for kids in the 70s and 80s it was a one-way ticket to awesome. How could our current stars even hope to compare? Recent cameos have ranged from the sublime (Feist's version of her own '1,2,3,4' had her dancing with chickens) to the rather sloppy (James Blunt's 'My Triangle'). But this effort from the second most famous Elvis in history really isn't too bad at all, a song about a broken man grieving for his number 2, which has been eaten by a certain boggle-eyed monster. His friend (and apparent exact twin) Elmo has a temporary solution in the form of a replacement digit, but of course that soon gets eaten as well. The video ends with the issue unresolved but Elvis seemingly accepting his loss. Doesn't quite match up to REM's classic 'Happy Furry Monsters' or Feist's chicken-dancing routine, but a fine effort nonetheless, and a good introduction to the Costello Canon. Particularly for me, as I'd never heard the song it's based on."

Q & A with Clare Price

2011-12-24T04:49:00.000-08:00

The image above is a painting made by Clare Price in 2011 called "See The Sunlight" (153 x 178cm Oil, Acrylic gouache, spray paint and household lacquers on canvas.)I first came across her work in the show Fresh Air Machine in London's Calvert 22 Gallery. For a full bio and more images visit here: http://www.clareprice.com/
The Rebel: What have been the highs and lows of 2011?
Clare: "It has been a year of the most extreme highs and lows, the lows were my husband being very ill and my son not getting a secondary school place. The highs were my husband getting better and having success with his painting and my son getting into a school where he’s really happy.
Art wise the high points: I had my first solo show that some people who I really admire seemed to like (or at least that's what theysaid). Low points: a run of shocking paintings in the studio earlierin the year."
The Rebel: Next year you're exhibiting at Studio 1:1 in Redchurch street - what kind of work will be in the show?
Clare: "Thats something I will find out probably not long before everyoneelse. I have been working on pieces that aim to be more spare andreductive (although this is not always the outcome in fact sometimesthe opposite occurs). I have been experimenting with a more classicalpalette and oil paint and have just returned to my original landscape format but with reconsidered digital drawings that form the basis forthe paintings. There is a lot of shifting in my thoughts about the paintings and how I want them to be. I will just have to wait to seehow these manifest themselves in formal terms."
The Rebel: The titles of your paintings often sound like song titles. Do you like to have music on when you work?
Clare: "It depends, often I do as the sense of immersion in the music mirrors the sense of immersion in painting. I also like to listen out for snippets of lyrics and words poignant/pertinent to the work to stealfor titles. At present, however the paintings are using every bit ofmy brain and so I am working in silence. It also depends if anyone’s in in the studio next door."
(Above: Clare on her residency at Cortijada Los Gazquez in Andalucia in Spain.)
The Rebel:Do you think Spain is more sexy or romantic than England?
Clare:" No England is the sexiest and most romantic but I like the weather in Spain."
The Rebel:Does your mother like the work you make?
Clare: "No."
The Rebel: Are there any old masters or art legends that you just don't get? Is there anyone that just leaves you cold but that everyone else seems to rave about?
Clare:"Damien Hirst."
The Rebel:If you could have a lost weekend with any comedian who would it be? Is there anyone from showbiz that you've always had a crush on?
Clare: "Peter Cook. A girl crush on Patti Smith, the ultimate poster girl for the unconventional woman."
(Above: The bedazzling Peter Cook)

The Rebel: Does your mood change your work? Have your best paintings come about when your a bit lost and heartbroken or when your feeling strong and confident?
Clare: "Lost and heartbroken does seem to have the advantage of enhancing thework, it’s good there’s an upside to that. My work is pretty emotional and raw at times which is probably dreadfully unfashionable,although I have learned over time not to worry about these things toomuch. I’m not sure if strong and confident are feelings I am familiar with in the studio but I’ll let you know how it goes if that happens."
The Rebel: Are there any bus routes you know like the back of your hand? Which bus do you think you've been on the most?
Clare: "Loads I am a bit of a geek about these kind of things, the 37 and 38and 37A Lymm to Altrincham and Lymm to Warrington gave me my escape routes to Manchester and Liverpool as a youth so these I will always hold dear. I think the number 12 from Peckham to the west end has to win theprize of most often travelled on, a deep mental groove has been worn through repetition of that route in my life (especially when it was aroutemaster the bendy bus was less alluring). I also know the 171 the36 the N12 the 345 ,78, 68, 159,73, 343 I could go on but I’m starting to scare myself."
The Rebel: Whose the best tutor you've had?
Clare:"David Moulson a painting tutor on my foundation at London RoadStudios, Mid Cheshire College in Northwich. He was incredibly inspirational and lit the touch-paper for my already smouldering love of painting. He was energised, painting incessantly himself, its no coincidence that I have met many amazing artists over the years who also were under his tutelage. He was mad about 1950s abstract painting and there was a lot of throwing buckets of paint at canvases going on amongst his students. He ruled over a wonderful victorian purpose built painting studio with stained glass windows and amazing speed life drawing, he was great. (Berndt Koberling at the Academy in Berlin comes in at number two hemade quite an impression on me when I was 20 in a heavyweight German painting professor kind of a way. He said it like it was and it was not always comfortable but it was always right. I remember a lot of what he said to this day)."
(Above: A painting of Clare's mum)
The Rebel:Describe what it was like making a painting that represented your mother?
Clare:"Quite intense and weird.
The Rebel: Are you getting more driven and ambitious as you get older?
Clare: "It seems that way."
The Rebel: If we were to go for an Indian meal together what kind of curry would you most likely order?
Clare:"Chicken Shashlik and tarka Dhal and maybe sag aloo (I’m pretty greedy)oh and pilau rice."
The Rebel:What is your idea of beauty in nature?
Clare: "The things that spring to mind are a Cornish seascape on the Lizard,forget-me-nots and English wild flowers. Any kind of a dramaticlandscape with a sense of purity gets me every time, especially ifthere are mountains involved."
The Rebel:When are you at your most relaxed?
Clare:"When watching Coronation Street."

Q & A with Sean O'Connor

2011-12-15T05:05:00.000-08:00
Sean O'Connor is a great painter. He also collaborates with Rob Dennis on videos that have been screened in venues across London including Hoxton hall, Crimes Town, and Tate Britain.
The Rebel: What is the Sean O'Connor story?
Sean O'Connor:"I was born on a Friday morning 33 years ago in Wrexham infirmary, just next to the Wrexham lager brewery that sadly is no more. My first memory was the smell of hops drifting into the delivery room. I am the only child to local girl Babs and Yorkshire man Mick. I am considered to be their pride and joy. Before I went to study painting at the local college (which was situated in both the morgue of the old hospital and a panel beaters garage), I dreamt of a steady football career playing for my beloved Wrexham F.C. It is well known that as a footbal club they are not very good, so I thought that it would be easy to play for them. However, when I started to play for the school team I realised that football is quite hard, well it was for me anyway, so I gave it up rather sharpish. I have now realised that art is an equally hard venture to master or at least to make something good that others appreciate just a bit. I hope to rectify this and try harder next year. Since Wrexham I have lived in Coventry, London and now Stockholm, where I live with my lovely girlfriend Sanna, my 6 month old son Dag, and our 11 year old cat Duster."
The Rebel: Do you wish it could be Christmas everyday?
Sean: "We will be staying with Mum and Dad in Wrexham. Me, Sanna and Dag will be sleeping in their bed and Mum and Dad are sleeping in my old room, with Dad on a blow up mattress. Dad got rid of all our Christmas decorations a few years back, but Mum tries to make it festive by sticking all her Christmas cards up around the house. She receives about 200, she is very popular in the North Wales area. No, I don't wish it was Christmas every day, maybe Easter every day would be better."
(Above: On the far right you can see Sean's painting of Carlos the footballer. The name of the exhibition was Night on Earth and it took place at The Oh Art Gallery at Bethnal Green's Oxford House.)

The Rebel: Do you think paying for art education is wrong? Was your education worth getting into debt for?
Sean: "I have been in debt for a long time now, and it is starting to get a little irritating. I have spent a lot on art education and sometimes I doubt my decision to embark on the treacherous journey. But, my art college days will probably go down in the O'Connor history books as the fondest of memories. It's a shame that it is becoming more and more expensive to study but I don't think it will put budding artists off the idea, student debt will always feel like monopoly money, well until you get a kid and have to apply for a mortgage! I think free art education could be a little chaotic and too bohemian, it might get messy."
The Rebel: What art things did you get up to in 2011? What were the highlights?
Sean: "Sadly there where not that many art highlghts, I had an MA show which was ok, I ran a bar in my space and showed some clips from Boy's from the Black Stuff. The cultural divide was evident immediately. The main highlight of 2011 has to be the birth of my son Dag in June. I love him to bits and I am really enjoying being his Dad. I just hope I am better at parenting than football, I think I might be.He looks exactly like his mum did when she was a baby, and he's blonde! He is the first blonde O'Connor in O'Connor history!"
The Rebel: What do you want to happen in 2012?
Sean: "Well, we are moving to a small cottage in the Swedish countryside it has a barn that I will start to paint in. I haven't painted in years so I am really excited about this. However it is situated next to an old slaughterhouse and mink farm, so I won't be able to spend late nights in there as I will probably get scared. It also has a river running through it so I will do a lot of fishing, which I love."
The Rebel: Do you miss being in London?
Sean: "Sometimes. I miss my friends more than London itself. I also miss the Hermits Cave in Camberwell. Next time I'm back I have to go there and hopefully bump into the scallywag that stole my favourite suede jacket on my leaving do."
(Above: Sean's painting of his Mother)
The Rebel:What's your mum like?
Sean: "Mum is lovely, others realise this too and it is apparent when you walk down the Wrexham high street with her. It takes about an hour to get from Boots to Poundstretcher, which aren't that far apart."
The Rebel: Name a few tracks that would definately be included if you were to compile me an old school 90 minute compilation tape of music you like?
Sean: "Unfortunately I have to include Hush by Kula Shaker because it came on the radio just after me and my friends had a small car crash and when it kicked in I realised I was still alive, it was a nice feeling. Tell Me When My Light Turns Green By Dexy's. Stay Up Late, Talking Heads. Killing Moon, Bunnymen. Dancing in the Moonlight, Thin Lizzy not Toploader. There is a light...Smiths. Under my Thumb, Stones. Hangin'Round, Lou Reed. Go Your Own Way, Fleetwood Mac."
The Rebel: Tell me an artist that you think is over looked. I just want their name so I can google it.
Sean: "Oskar Korsár."

Q & A with Mark Wigan

2011-12-11T11:38:00.000-08:00
Mark Wigan is one of Britain's most influential graphic artists. In the 1980s his work was always in mags like I-D. I used to find flyers he had designed and decorate my bedroom walls with them. Over the last 25 years he's had success as an author, a muralist and an animator and he's even painted on a gigantic toad. To witness examples of his greatness visit here:
http://www.wigansworld.com/

Harry: You were one of my art heroes who were yours?
Mark: "Vladimir Mayakovsky, James Gillray, William Hogarth, Honore Daumier, Tristan Tzara, Jack Kirby, Jim Flora, Lowry, Luis Bunuel, Phizz Hablot Browne, Henry Darger, Edward Bawden, Paul Hogarth, Jules Phiffer, George Grosz, Robert Crumb, Otto Dix, John Heartfield to name a few."
Harry: What do you remember about the club scene in New York? How did Andy Warhol discover your work?
Mark: "I first spent time in NYC in 1986 going to clubs such as Area and Palladium and Save the Robots taking polaroid portraits for i-D Magazine
Warhol saw the Urbanites mural by myself and Yuval Zommer at Limelight London described it as HOT! and recommended we paint limelight on 6th ave NYC which we did.he also introduced us to Keith Haring while in NYC in 86."
Harry: Were you ever into the work of Jenny Holzer, do you see any links between her work and yours?
Mark: "I was familiar with her work, an interesting critical dialogue use of letterforms."
Harry: How long did you work for the NME - were they golden years?
Mark: "Working as a freelance illustrator 1983-7 I illustrated for NME and i-D amongst many other mags, (NME was very popular back then.)"
Harry: Is it acurate to describe you as being "big in Japan"?
Mark: "My work has been popular in Japan in the past e.g.-public art commissions, set designs and title sequences for popular tv shows and my own chain of illustrated merchandise shops in the 1990s and lots of live painting performances and interiors and murals for nightclubs across japan, I have spent a lot of time in Japan working on a wide variety of projects."
Harry: Do you own any artworks by other people, have you ever bought a painting?
Mark: "I have bought paintings by artist friends including a portrait by Mike Silva I also own a John Lennon print."
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Harry: Do you think Philip Larkin would have enjoyed your toad artwork?
Mark: "It was a colourful toad it may have cheered him up a bit."
Harry: What would you like to do in the future? What are your art ambitions?
Mark: "I'm working on a pHd at the moment and 10 large pen and ink drawings for an exhibition in NYC next year, also continuing to lecture on undergraduate and post graduate programmes in Illustration and Design."
Harry: Tell me about the books you've published - which one is your favourite?
Mark: "I've authored five books on Illustration published by ava publishing (info online) translated into a number of languages and key texts at schools of art and design worldwide."
Harry: Do you see your work as always being positive and uplifting? Do you think you have a role to play?
Mark: "As an educator I nurture creativity and try to build up students confidence in their work, my own creative output - there is a sense of humour in the black and white ink drawings which are a form of reportage and social commentary and the colour work -paintings and murals is vibrant and uplifting."
Harry: Who are your favourite bands and singers?
Mark: "Raw uptempo 60s Northern Soul, Motown,40s big band swing,Blues, Punk Rock, Electro -Hip Hop, House, Ska, Rock n Roll, Lounge, Country so pretty eclectic tastes. Artists: Cab Calloway, Jackie Wilson, Linda Jones, Howlin Wolf, Leadbelly, Woody Guthrie, Frank Sinatra, Sex Pistols, Clash, Prince Buster, Joy Division, Echo and the Bunnymen, Afrika Bambaartaa."
Harry: What is your favourite album cover?
Mark: "Anything illustrated by Jim Flora, Jamie Reids never mind the bollocks sex pistols, the clash the clash, Funkadelic album covers, Peter Savilles work for Joy Division and any bluenote record covers by David Stone Martin."
Harry: How are you going to spend the rest of the day?
Mark: "Lecturing with final year students of BA (Hons) Illustration at Hull School of Art and Design."

Q & A with Jennifer Louise Martin

2011-11-29T09:36:00.000-08:00
Maybe the starting point of Jennifer Louise Martin's paintings is the artist's response to our society's preoccupation with beauty and perfection. I first became aware of her work at The Other Art Fair on The Southbank. To read her full biography and c.v visit her website:
http://www.jenniferlouisemartin.com/
(Above image: "Beauty is an Affliction part One" Acrylic on canvas, 240 x 180cm, 2011).
The Rebel magazine was delighted she was up for answering a few questions about her work...
Harry Pye: Where did you grow up and what was you introduction to art? Can you remember which painting it was the first grabbed your attention?
Jennifer: "I grew up in London and remember art having a profound effect on me when I was 15. It was my art teacher who inspired me and nurtured my creativity. The first ever painting that grabbed me was when I was on a trip to New York with Central St. Martins, on my Foundation course. We went to see Jenny Saville's work and I was mesmerised by her large scale canvases."
Where did you study and were there any particular books or exhibitions that you think helped you grow as an artist?
"I studied twice at Central St Martins and have also done a Bsc in Psychology and Neuroscience at Leeds University. The Sensation exhibition was one that I found revolutionary and inspiring. It helped me think of ideas more diversely. Also the Rothko room at the Tate, with regards to painting, I found his work sensational and very evocative."
Which of your own paintings do you feel most proud of?
"My most recent one, Beauty is an Affliction I and II. I did these in Berlin and they are my biggest canvases to date. I found a passion for huge scale canvases and I am very happy with the painting which is not usual. I am always happiest with the paintings i haven't done yet."
Do you often just sit and stare at your work? Do strange things happen to you in your studio?
"YES! lots, I think I spend longer staring than painting sometimes. Strange things happen because I have a clock with no hands in my studio so it is like a time warp, I can paint for hours on end and not know what day or time it is. I also go a bit manic when I paint."
It's very hard for painters to make money and stay afloat do you ever wish you'd never got involved in art and that you'd become a dentist or lawyer instead?
"Never. Its a necessity to paint for me."
>Do you ever paint when either distressed, highly emotional or drunk?
"Sometimes, I dont drink, so it is usually in times of post distress or low mood."
>Are there any living painters around that you think are much better than you?
"Many that have plenty more years of experience. Marlene Dumas is my painting heroine."
Could you ever marry and/or have children with someone who wasn't that crazy about the paintings you made?
"They would have to like them, because if they didnt it would mean they wouldnt like me!"
Which people have helped you the most? If you were handed the Turner Prize or a similar award who would definately be getting a mention in your thank you list?
"My parents, they have supported me over the years and provided me with a home and a garage to live/paint over the past 10 years. And of course my art teacher at secondary school for recognising my talent."
Do you think the world we're living in is wonderful?
"I think the world itself and the creation of the world is wonderful, but I wouldn't necessarily say the everyday world we live in is wonderful. It can be though....."

(Above image: "Vanity Fairest", oil on canvas, 48 x 64")

Billy Childish in the new issue of The Rebel magazine

2011-11-18T15:47:00.000-08:00

Artist, musician and gentleman Billy Childish kindly agreed to answer 99 of Harry Pye's questions for the latest issue of The Rebel.

Billy (who once turned down thousands of pounds to appear on a I'm A Celebrity Get Me Out Of Here) was happy to answer whatever question Harry threw at him.
The cover of this new Rebel has been designed by Billy and Steve Lowe of L-13

and it comes with a free limited edition exclusive Billy Childish gestetner print. Only 99 editions of this publication have been made. Each one comes in an envelope signed by Billy. They are only available to buy at Harry & Jasper's 99p Art Store at The Other Art Fair.

(Like the other 98 items in Harry & Jasper's store)this special issue of The Rebel will be on sale for just ninety nine pence.
Miss it and miss out. There will be a limit on how many copies of The Rebel each visitor can buy. If you're a Billy Childish fan you will not want to miss out on a chance to get your hands on this magazine.
There are free tickets for The Other Art Fair available on their website but you have to RSVP. See you on thursday...

Twenty 45s

2011-11-15T02:11:00.000-08:00

Here are a selection of the singles which will be available for 99p each at Harry & Jasper's 99p Store at The Other Art Fair...

(Above: The Rolling Stones)

(Above: Dexy's Midnight Runners)

(Above: The Fun Boy 3)

(Above: Tom Jones)

(Above: Marty Wilde)

(Above: The Streets)

(Above: Adam Faith)

(Above: Dizzy Gillespie)

(Above: Cilla Black)

(Above: Prince)

(Above: Blondie)

(Above: Rod Stewart)

(Above: Charles Aznavore)

(Above: Everly Bros)

(Above: R. Dean Taylor)

(Above: Kevin Rowland & Dexys)

(Above: Elvis)

(Above: Cliff Richard)

(Above: Beatles)

(Above: Jimmy Nail)

Q & A with Ryan Stanier

2011-11-15T01:19:00.000-08:00

The Other Art Fair opens at 5pm on Thursday 24th of November at The Bargehouse. (Tickets are available through the website: theotherartfair.com)
The Other Art Fair provides "a fresh, open platform to connect art buyers of all tastes and experience directly with young, emerging artists before they are signed. Visitors can buy direct from 100 of the UK's best unrepresented artists. All artists chosen by our selection committee of experts 1,000+ pieces to buy from £100 - Not just an art fair, an art experience – loads of fun and interactive activities. Located next to the iconic OXO Tower."
Rebel magazine had a few questions for the fair's director: Mr Ryan Stanier...

The Rebel: What's the Ryan Stanier story - where are you from, what's your background?
Ryan: "Not that exciting a story I am afriad, grew up in Surrey, went to Kingston Business School. I can pinpoint the time when art really became central to my life. I went to see a Russian Art exhibition at the V & A whilst I was still at school and was just blown over by it."

How did you get to be a director of an art fair?
"I have a background in running succesfull exhibitions and events in Fashion, Wine and Art as well as running Pop-Up galleries featuring graduate artists so I guess the Other Art Fair is the marriage of the two."

What's your favourite gallery and what's the best art show you've ever seen?
"The Josh Lilley Gallery or Saatchi. The latter because I think he has a similar ethos of looking for new talent. Best exhibition would be the Russian one I mentioned previously purely because it changed my life."

Do you think going to art school is always the best route an artist can take? Do you have any advice for young people who feel that making art is what they should do with their life but are unsure of how to pay the bills?
"Depends really – I think they most important this is to do what you love. I think that is what I admire most about artists, their love is their work despite the difficulties they face. They don’t become artists they are artists that are constantly evolving."

What do you like most about London? Can you describe a perfect day in the capital?
"The energy of London - perfect day...I guess Breakfast in Primrose Hill, Watch Brentford beat Man Utd followed by celebratory drinks and dinner in the Owl and the Pussycat in Shoreditch."

Are you a bitter man? Are there things that happened to you in your early years you feel angry about?
"Definitely not bitter. Having only just turned 30 I think I’ll need another 10 years to think about it!"

Name some of your favourite films, CDs, plays, brands
"True Romance – Quintin Tarantino, Hendrix, led zeppelin, Anna Calvi,
Dizzee Rascals first album."

Tell us about the Other Art Fair team. Who are the people who helped you make your art fair dreams a reality?
"I think any successful event is based on teamwork rather than an individual and I have been lucky enough to have an incredible team of Sarah, Erica and Georgia that have been there since the beginning."

What next for Ryan Stanier? Do you have a 5 year plan or dreams of world domination?
"Yes – World domination by The Other Art Fair is a definite plan!I would love to go international but first we are going to make the Other Art Fair a success here in the UK. We have so much talent here in the UK that I want to focus on that for the moment."

Q & A with Josie McCoy

2011-10-30T08:12:00.000-07:00

Josie McCoy is an award winning painter. Most of her portraits are of well known faces from off the telly. She says her work aims to "explore ideas of desire, reality, identity and art’s relationship to popular culture imagery." You can find out more by visiting http://www.josiemccoy.co.uk/

I asked her a few questions about her recent activities...

The Rebel: How much of your life is taken up with painting? Do you relate to Tracey Emin's "I Need Art Like I Need A God"?
Josie: "Nearly all of my life is taken up with painting, and if not doing it, then thinking about it."

Who were your art heroes when you were growing up and which contemporary artists do you rate now?
"I loved the impressionists when I was young, especially Degas and Cezanne. I also loved Vermeer.
I like a lot of contemporary artists, and particularly rate Michael Borremans, Ken Currie, Marlene Dumas, Jenny Saville, James Reilly and Gerhart Richter."

How easy was it to do your self portrait / was it something you enjoyed doing or was it just hard work?
"It was quite an eerie experience to paint the self portrait. It is 15 x 15cm , linen on MDF panel. It was only after I started it that I realised it was life size. I was documenting it on a plinth in the studio and actually felt beheaded! I have only worked on linen a few times, so it was a bit of a struggle to paint as I´m so familiar with working on sized cotton duck, and I had a to adapt the layering to allow for the smooth surface of the primed linen."

What can you tell me about Johnny Depp? Have his good looks and charm captured your foolish heart?
"Ah yes, he has my heart. But it´s painting his glasses that I´m enchanted by."

Have you been recession hit? Are you suffering in this current financial climate or are you like the proverbial cat with all the cream?
"The recession hit me really shockingly hard for a year and a half. I couldn´t understand what had happened! Some nice press mentions and some very nice new and previous collectors have made it all a lot better. So I haven´t got the cream, but I hope I´ve lost that panic look in my eyes."

What were the highs and lows of your art education?
"The highs definitely include my MA show at CSM, and there were some fantastic moments when I was getting to grips with paint during my BA course at Solihull. The lows don´t need to be remembered."

(Above: Winona Ryder 40cm x 40cm Oil on canvas 2002)
What art mags do you read? Are there any art critics you ave any time for?
"I´m a bit too eclectic in my tastes to say."

What's the punch line of your favourite joke?
"No tomatoes!"

(Above: "Pat Evans" from Eastenders. 135cm x 135cm 1999 oil on canvas)

What's your favourite tipple? And when was the last time you over indulged and abused your body with alcohol?
"White wine, Friday night."

What do you want out of life? Do you have a head full of dreams?
"To live happily ever after. Right now, my head is brimming full of pictures."

Joffe & Pye at The Other Art Fair

2011-10-27T03:30:00.000-07:00

The Rebel Magazine will be playing a small part in a special art project that will be taking place at The Other Art Fair in The Barge House on the Southbank. ("The Bargehouse is an impressive 4 Storey warehouse within the famous Oxo Tower")
"Harry & Jasper's 99p Shop" will be on four four days...

The private view is on Thursday the 24th November (5pm till 9pm)
The Fair is then open again on Friday the 25th (11am - 7.30pm), Saturday the 26th (11am - 6pm) and Sunday the 27th (11am - 6pm).

The idea behind the project is that no matter how broke and recession hit you are there's still a chance you can become an art collector. Harry Pye and Jasper Joffe are making 99 artworks that are in editions of 99 and will be available for 99p. So even if you're down to your last pound coin you will be able to buy an art work (and even get a penny change).

(Above Jasper and Harry photographed by Aleksandra Wojcik)

Joffe & Pye have been busy making collages, prints, photos, sculptures. All sorts of things will be available (masks, medals, shuttlecocks etc)- they've even produced blood, sweat and tears for this show all of which will be available to buy for just 99p. There will also be a special 99p issue of The Rebel (in a limited edition of 99 obviously)

Cass Arts (http://cassart.co.uk/) are sponsoring the project. Jasper & Harry are also getting a lot of support from photographer Aleksandra Wojcik. More info about The Other Art Fair will follow shortly in the mean time feast your eyes on some of Aleksandra's photos of Harry in his kitchen learning how to make "99p Harry Face biscuits" and "99p Joffebread men".

Find out more about Aleksandra Wojcik here: http://aleksandrawojcik.com/
Find out more about Jasper Joffe by going here: jasperjoffe.com

Q & A with Christopher Owen

2011-10-10T01:35:00.000-07:00

I've been a fan of artist Christopher Owen for many years now and was delighted he answered a few questions for me.

The Rebel: You've lived in St Leonards on Sea for a while now. What do you most like about it? Is it a good place to be an artist in?
Chris: "You have asked me this before, but I cannot remember my answer? Well, my answer now would be yes. There has always been a number artists who have lived here, for instance Laetitia Yhap, who is a wonderful painter. But to go back to your question; the property here is cheap, there are lots of affordable studio space, plus in terms of transport it is good, easy to get to eurostar, London and Gatwick."

"We've Plumbed This Whole Neighbourhood" is an interesting title for a show - where did the idea come from?
"It's a corruption of a title of an old 'Nurse with wound' track. I liked it, it suggests the way in which art can have a rhizomic effect; on the economy, the environment etc."

When your work is in an exhibition do you feel naked and vulnerable or do you feel proud and powerful?
"Vulnerable."

Do you think if most artists were just given lots of hugs and cuddles they'd make less work?
"Yes, I don't know how it impacts on their work though. Need to be loved is strong."

Do you like the way Manet painted lemons and things like that?
"I love Manet, but can't recall any lemons. Tangerines, but not lemons. I love 'Vase of Peonies' which is in the Musee d'orsay."

What are your favourite things?
"Dachshunds, old t shirts, sunlight and early Roxy Music."

Are you ambitious? Do you want prizes and awards and for the world to know your name?
'Ambition is ugly in anyone over thirty' Julie Burchill

Do you believe everybody is good at something?
"Yes, I do. Everyone has potential, sadly the way education in this country is going this is going to be harder to realise."

Who are your favourite politicians?
"I love George Osborn - he exists to prove that the Tories are still elitists who feel there is one rule for them and another for the poor."

What is the purpose of art and what role do artists play?
"I have an answer for that - one that will get me in to trouble. Don't let daylight in on magic."

A man can do things so terrible that his own parents will refuse to talk to him and yet Jesus Christ will still love him, will forgive him and will believe that he can his change his ways. What say you?
"I think some people feel the aim is to be 'christ like', when rather it is a journey, to learn from him. I find it very interesting, forgiveness is very difficult, and I wonder how I would feel if someone I loved was killed."
Who are your favourite film directors?
"David Cronenberg, though the last film I saw at the cinema was 'Rise of the planet of the apes', I really enjoyed it."

What's your favourite kind of soup?
"I like soup. A chinese soup with dumplings, or pea and mint."
Do you sleep well at nights?
"On the whole yes. The key is to have a very plain uncluttered bedroom."
What next for Christopher Owen? What art things would you like to do next?
"I would like to paint outside, in Paris. I would also like to design the label for an expensive bottle of olive oil."

We've Plumbed This Whole Neighbourhood
Christopher Owen | Tamara Van San

LIDO is pleased to announce We’ve Plumbed This Whole Neighbourhood, an exhibition of new works by Christopher Owen andTamara Van San. In a culture that tends to privilege the visual over other senses, whilst insidiously championing watching over seeing, it is common for the eye to be allowed to skip lightly across the surface of things, content to quickly pick-up linguistic or associative clues from which to form a succession of sufficient meanings. In adaptive evolution this ability to quickly assess and judge situations of threat or opportunity is a cognitive triumph. The casualty of this tendency toward high-speed looking is the delight to be found in sustained, questioning scrutiny. Using a palette, both verbal and material, that belongs very much to the high-speed contemporary high street, Owen and Van San are nonetheless each able to delay the transmission of superficial meaning for long enough, and with enough verve, to allow the viewer to look afresh at the works before them, and to find within these works new networks of meaning that privilege the eye but work in concert with the mind.

In Owen’s Untitled (2011), a four-part drawing of modest means, two ultramarine blue buildings sit among a scattering of shrubs and a single red palm tree. The ease and speed by which this arrangement is read as a landscape however, is almost as quickly undermined. The formal specificities of its constituent parts – the hard-ruled edge of the blue square against its densely worked centre, the giddy, wavering red line that delineates an area of white paper within from a greater white space beyond – abruptly denies the cognitive short-cut which initially offered such an limited semiotic interpretation.

Van San’s sculpture, made specifically for LIDO’s gallery space and for the beach front outside, does not toy with linguistic or pictorial systems, but its heightened colour and catholic materiality serve to delay the work from quietly retiring to the territory of pure form. However, with time, it is form that emerges as the primary force in these sculptures. Allowing the works to resolve themselves through the process of their own making, and at all times keeping the tendency toward decentred chaos at bay, Van San arranges coloured forms in space that attain an harmonic, if temporary, order - an order that suppresses its constituent materiality’s potential to upstage the whole.

Both artists achieve a formal sophistication in their work without recourse to dry or well rehearsed technique. Instead, by sailing close to the wind in their embrace of the language and material of the everyday, they are able to transform the familiar, revealing a space of visual delight and complexity that exists beneath the semiotically vociferous surface.

Christopher Owen lives and works in St. Leonards-on-Sea.
Tamara Van San lives and works in Appelterre, Belgium.

Exhibition opens Saturday 8th October, 6-8pm
Exhibition continues 9th - 30th October 2011
Saturdays & Sundays 12 - 5pm

LIDO at Electro Studios, Seaside Road, St. Leonards-on-Sea, East Sussex TN38 0AL

A bit of a chat with Keith Levene

2011-10-04T16:17:00.000-07:00

Keith Levene is an exceptionally good guitarist who helped make some great records. He was an original member of The Clash and co-wrote “What’s My Name” but he is of course best known for forming P.I.L with John Lydon and Jah Wobble. I asked him if I could do an interview with him via e-mail and he said “No. Filling in forms isn’t exactly punk rock is it?” But he seemed happy enough to have a chat on the phone. When we finished the conversation I asked him if he wanted to proof read my attempts at transcribing the conversationbut he said: “I’m not bothered mate – just put it out.” So I have. This is my version of what we discussed around about 11.30 am on Tuesday the 4th of October...

Me: I was looking at various clips of you on You Tube. I really liked watching you play acoustic guitar on a very recent track called Mind Chaos. Another one I was into was called Violent Opposition from 1989. What can you tell me about that one?
Keith Levene: “I was in L.A doing soundtrack work... I was asked to record for Ryko who just ripped me off. It was exhausting to do, I got no money. It was fucking awful. But I did record some great tunes. There’s a lot of pretty wicked stuff (from that period some of which still hasn’t come out) – a lot of it isn’t concrete – they’re not out takes they’re more like proposals I guess.”
It’s sad how many musicians still get ripped off. Are you still wide eyed? I saw a documentary about Chuck Berry once. He said he got ripped off on his first contract he signed and so he became mean. He said he wasn’t going to get bit by the same dog twice.”
“I think Chuck Berry was always mean.”
Do you have a manager or someone looking out for you?
“I’ve got Jah Wobble looking out for anything to do with P.I.L. John (Lydon) did some immense work and there’s no taking that away from him. But sometimes it’s like there’s another guy who lives inside of him....”

In ten days or so there’s a new CD that features both you and Jah Wobble playing together for the first time in many years. I read a press release in which Wobble is quoted as saying that he’d been searching for a charismatic front person and lyricist for about 20 years and that he was overwhelmed when he met Julie Campbell and read her poetry. What was your first impression of her?
“I didn’t know of her work before he told me about her. When I met her she was shy but cool. I think we’d agreed to do two or three tracks originally but very quickly there was an album’s worth of material. We did a video and I met her again – I liked her. Jah Wobble’s got a great eye when it comes to discovering new worthwhile things. He’s always searching and trying to find the shit. There’s a lot that he can get his head around. I’ve got only good things to say about Julie Campbell.”

Jah Wobble said of you: “No one has ever come close to Levene in terms of playing the non-square, non-bourgeoisie, harmonically hip ‘guitar wash’ a la ‘Poptones’.”
“The music of P.I.L is me and Jah Wobble.”

Have you read the book “Rip It Up And Start Again” by Simon Reynolds?
“No. There are a lot of books I haven’t read, a lot of records I don’t own. I was on the cover of NME once – I saw a photo of it but I don’t own a copy of it. I don’t know... do you know the first time I ever met Bernie Rhodes I was about 17 and the first thing he ever said was: “Stop reading the music press.” I did read something Simon wrote a review that I read once and it was 100 % bang on but to be honest I’m wary of reading about punk by people who weren’t there. I suspect Simon was too young. How old do you think he is?”

I'd guess about 45 maybe - I'm not sure. I remember him writing for Melody Maker in the late 80s - he must have been at least 20 then. Do you think that between the Post Punk years of 1978 to 1984 there were more mischievous, intelligent and creative people making music than there are now?

"Oh yeah. I’m not impressed with most 30 to 45 year olds but I think there’s a lot of interesting stuff from the 15 to 25 year olds. There’s something in the air at the moment just as there was in the late 70s. The Sex Pistols were a great “Fuck You” band. And I liked the fact that (with punk it didn’t matter that) you could look like Adam Ant or you could look like Rat Scabies. But, from my point of view (post punk bands like) P.I.L were more about the music...”

In “Rip It Up” there’s a bit where it says both you and John Lydon weren’t that into touring. You’re quoted as saying you’d rather make a video than do a 30 date tour...
“It’s not that I don’t like to tour – I like playing live. We were punks. We didn’t want to have jobs. We didn’t want to be people who worked nine to five in jobs we hated. Not everyone knows how crushing constant touring can be. Music means so much to people. It should be expression, it should be creative... and you need to have the courage to fail, you need to find out what you don’t want. When you do a 30 date tour it all goes wrong because suddenly you’ve got your record deal, you’ve got your tour, you’ve got your drug habit and if you’re not very careful you turn into Elton John.”
What’s life like for you these days? Are you a rich man? Are you a happy man, an angry man?
“I’m fucking angry about everything – I always was. When I started school at 11 I got told I was anti social.”
And are you a rich man?
“I’m rich because I live my life how I want and do what I want to do. I don’t compromise. I’m nearly dead but I wouldn’t want it any other way.”

The release date of Psychic Life by Wobble & Campbell (featuring Mr Levene) is the 14th November. For more info:
http://www.cherryred.co.uk/shopexd.asp?id=3338

Q & A with L. Vaughan Spencer

2011-10-02T00:58:00.000-07:00

"Don't Be Needy Be succeedy" are the wise words or self help guru L. Vaughan Spencer. The Rebel magazine were lucky to get him to find the time to answer a few questions...

The Rebel: Do you ever wake up feeling bored?
L.Vaughan Spencer: "Never. Success is just waiting to be grabbed!"

What makes you want to get out of bed?
"All those people who need my help. And my morning exercise routine."

What items do you never leave the house without?
"My pony tail."

What's your favourite part of London (North or south?)
"North, of course! Luton to be precise - home of London Luton Airport. Just one corner of the Succeeder Triangle (Luton - Watford - Stevenage) - our answer to Silicon Valley."

What music gets you on the dance floor?
"Billy Ocean."

Do you agree with Oprah Winfrey that people ask too much from relationships? She says your girlfriend or boyfriend should be like the cherry on top and that you should be responisble for 95% of your happiness.
"I don't eat cherries. But I have had two very successful marriages so far."

Have you been in love, have you been hurt?
"Oh yeah. But I am the Wounded Healer."

Is it wrong to hate?
"I only hate failure."

Do woman really go crazy for a sharp dressed man or is that just a myth?
"Depends if his colours are right. I am an Autumn person, hence wear Autumn colours."

Some people believe that you are what you eat - do you eat healthy, nutricious food?
"Yes, I follow the Alphabet Diet - only eat food that begins with the same letter as your name."

Is Uri Geller a good man or a bad man?
"The best."

"Every cloud has a silver lining but every lining is on a cloud". What say you?
"Have you seen the lining of my jacket? It's fantastic."

What do you love most about the life you lead?
"You - I mean the people whose lives I have changed. I hope to see lots of you on October 11 in Leeds and October 17 in London!"

(Neil Mullarkey's alter ego L. Vaughan Spencer brings his show to Leeds on 11 October and London on 17 October
http://succeedy.com/events.html

"The the laughs cascade. Eerily life-enhancing comedy." LONDON EVENING STANDARD
"Superb pastiche; it's Borat meets The Office." SUNDAY TIMES)
For more info: http://neilmullarkey.com/

Q & A with Pauline Black

2011-09-20T03:49:00.000-07:00

Pauline Black is of course the lead singer of the legendary 2-Tone band The Selecter who released classic singles such as On My Radio and Too Much Pressure. She has also had success as an actress and TV presenter and now she has published a brilliant autobiography...

Harry Pye: What's it like being Pauline Black at the moment?
Pauline Black: "Feels very good Harry, & thank you for asking."

Both your new CD and your book are getting good reviews and selling well. Do you feel blissfully happy or are you just knackered?
"The reviews for my book “Black By Design” have been universally excellent. People seem to have ‘got’ what I was trying to say. Likewise reviews for the new Selecter album “Made In Britain” have been solidly good. Promoting both the book and the album this summer, has been time-consuming but very exciting. So in answer to your question- most days find me very busy but blissfully happy.
I have been doing several events for audiences at small bookshops. They are a great deal of fun and give me, as the writer, immediate feedback. Also it helps small bookshops sell books, because their profits are so squeezed by the online giants like Amazon. I’ve had some very moving experiences with people who were adopted in the fifties like me-it’s a small world out there."

(Photo above: Pauline with Arthur "Gaps" Hendrickson)

What do you like most about working with Gaps. What do you admire most about him as both a person and as a performer?
"It’s great to share vocals again with somebody who is easy-going, moves so beautifully and has such a strong stage presence and singing style. Together we are quite formidable. He also writes good songs, which he delivers with an inimitable cool & stylish panache."

To what extent are you still pals with the first line-up of The Selecter? Is everyone who played on those first two albums still on your Christmas card list?
"I don’t send Christmas cards to anybody, irrespective of whether I have ever worked with them.
I wish everybody who has been in any of the many line-ups of the Selecter success in all they do in the future."

Tony Blair recently said that that we have to accept that many of those arrested for taking part in the London riots were beyond help. Apparently the majority of those arrested in the riots had been arrested before. Were you surprised by what happened in the riots and what do you think of the protesters?
"Riots have happened throughout history, so why we should be quite so surprised by this latest disturbance seems odd. When there are thieves in the banks and in Government, is it any wonder that those who do not have much of a stake in society consider robbing private property an option to get what they want. Nonetheless, I do not believe that rioting is the way for them to solve their problems."

In your book you mention Madness and you imply they didn't do enough to tell NF thugs who came to their shows that they weren't welcome. Did you feel genuine anger at the situation at the time? Are you a Madness fan aside from this problem?
"Madness is a very talented band that continues to evolve and produce new music. I merely thought that it was a missed opportunity by them in the early days of 2-tone."

Smiley Culture died recently whilst in Police custody. Apparently 90 people since 1990 have died whilst in Police custody and no officer has ever been investigated fully or charged with anything. Smiley Culture is said to have stabbed himself and was then handcuffed etc What are your feelings about Smiley Culture and the relationship between the police and the black community?
"I thought Smiley Culture was a very perceptive artist & musician. He was a frequent guest on a programme I presented for Channel 4 “Black On Black” in the mid 80s and very much loved by our black audience.
Ever since I can remember there has been tension between the police and the black community. The ’sus’ laws that were in place in the late 70’s did much to provoke the situation back then and were largely responsible for the riots in the early 80’s.
Your assertion that 90 black people have died in police custody since 1990, without a police officer ever being charged with anything proves that it is a very unsatisfactory situation if the police force is allowed to investigate themselves when these kinds of tragedies happen. There should be full, open, independent inquiries into all of these deaths- perhaps then the truth would be seen more clearly."

What next for Pauline Black?
"I’ve started writing my first novel (working title - “The Last Supper”) & work has begun on another Selecter album."

(Photo above: Pauline at a recent signing session in Coventry)
Are you ever surprised by Selecter fans?
"Constantly- I am surprised by their continuing enthusiasm for our music and knowledge of our history."

(Photo above: Gwen Stefani of No Doubt)
The group, No Doubt absolutely love you - do you have any other celebrity fans?
"We toured with No Doubt in 1997 in America and had a great time. I was very pleased when Gwen Stefani cited our album “Celebrate The Bullet’ in her all-time Top 5 albums in Elle magazine a couple of months ago. She’s obviously got good taste!
I don’t know any other “celebrities”, therefore I have no idea of their musical tastes - although somebody told me that the right wing rag, the Daily Mail, reported that the Queen Mum liked a bit of ska in the 60’s! Skanking to old-school ska at Balmoral must have made her jewelry rattle."

http://www.dailymail.co.uk/news/article-1365713/She-ska-music-The-secrets-Queen-Mothers-record-collection-yodelling-Canadian-cowboy-Paul-Simon.html

What were Serpent's Tail like to work with? Why were they the right publisher for you?
"Serpent’s Tail was the second publisher to read my book and came back with an offer straight away. I accepted immediately. I believe that Black by Design found the perfect home at Serpent's Tail. I had long admired their maverick commitment to new voices and in particular the diversity and breadth of their catalogue, which encompasses my favourite literary period the ‘Harlem Renaissance’. It is an enormous thrill for my book to be on such a list."

You were very moved by Amy Winehouse's music and I read somewhere that you said you believed that in the future her songs would become standards. Are there any other performers/writers around now that you rate as highly?
"An artist like Amy Winehouse happens once in a generation. I feel very privileged to have been able to enjoy her work during my lifetime. There have been such artists in the past and there will be more in the future, but right now, I can’t think of another one."

www.paulineblack.com
www.theselecter.net
www.facebook.com/pauline.black
www.twitter.com/paulineblack
www.twitter.com/se1ect0r

Imani Hekima

2011-09-06T09:58:00.000-07:00

Bradford based Imani Hekima is a brilliant, soulful singer with a great vocal range. I love it when his voice goes high as it reminds me of both Imagination’s Leee John and David McAlmont.
He is also a gifted musician and arranger. This CD (which is due out this Autumn) has lots of lovely little hooks and grooves and on tracks like “We’re Losing Faith” we get to hear him show off his impressive piano skills.
Influence wise I’d say that this album contains a bit of Bob Marley, a pinch of Stevie Wonder, a sprinkling of The Selecter (circa “Celebrate The Bullet”) and a big dollop of Aswad (in the early days when they were good) All of which is fine with me.
Listening closely to Hekima’s no nonsense lyrics his message tends to be a pretty basic: think for yourself and do the right thing. Imani looks outside his window and sees a world filled with people with “too much time on their hands and too much nonsense in their heads” There are bad times just around the corner. This album is nowhere near as bleak as say Lennon’s Plastic Ono Band or Dusk by The The. But when Bob Dylan recorded his Blowing in the Wind the album he balanced the serious stuff with throwaway love songs like “Honey give me one more chance”. Likewise, on Lenny Kravitz’s “Let Love Rule” debut although the overall tone was “The world has gone wrong / We’re all doomed unless we change the way we treat each other” the CD ended with the silly knees-up Flower Child. My only petty quibble with Imani's release is that there's an absence of fun and frivolity.
Imani writes, performs and co produces all the tracks. One can tell a lot of love has gone into making this album and it’s obvious he is very talented. I hope it does well, it deserves to. Maybe his next collection of songs will be more up. In the future it would be nice to occasionally hear him either just having a laugh or singing a few silly love songs. But, as I said, Hekima has delivered a really good album. Few would deny Imani’s work is very impressive indeed.
One of the album's standout tracks "Just Beneath The Skin" will be available as a download in October for more info: http://www.myspace.com/imanihekima

Q & A with Kevin Wayne

2011-08-27T10:45:00.000-07:00

(Above image: The Networker 2008)

The Rebel: Your first solo show at Unit 24 opened last week. How did the p.v. go / how did you feel on the night?
Kevin Wayne: "The night seemed to go pretty well and the work got a positive response from everyone I spoke to. I was very nervous (as you could probably tell), I have had a few pieces in group shows over the last couple of years but this is my first real attempt to get 'back in the game' so to speak. Its a new body of work quite different from what I used to do so I was quite anxious to see what people made of it."

There was a lot of work on display. How long has it taken to get to the stage you're at?
I started working on the box pieces about three and a half years ago, I had a lot of the ideas for some of the pieces way before that, but my method of working took a long time to arrive at. My attic is filled with quite a few half finished experiments that involved resin.

Are you interested in animation? I can imagine your work lending itself to film very easily?
"Yes, I have always loved animation of all kinds but particularly stop-motion. Ray Harryhausen was a bit of hero of mine when I was a teenager, I used to make lots of creatures and model sets but for some reason I never got to the point where I ever put anything on film, I was always a little daunted by the technical side of things. However I recently went on a two day animation course, its amazing how digital cameras and film-making software have really simplified the process, not to mention making it much faster. I have now set up a filming rig in the room where I teach. I am only tinkering at the moment but yes, you're right, I think some of my stuff would work well on film. Whatever film I made would probably be a bit of a back-burner project that I could pick up and put down."

What's your art background, what colleges did you attend, did you have any great tutors?
"None of my family were especially arty, I always liked drawing from an early age and it was one of the only subjects I showed any promise in at school. I did a foundation course at KIAD Maidstone before doing my fine art degree up in Liverpool. As I approached the end of my time in Liverpool I applied for a few MA courses in London, not holding out too much hope of getting a place as most people I knew and respected who had got on those courses had taken at least two or three attempts. However I got an interview for the sculpture course at the Royal College and it all went unbelievably smoothly. My first year there was a pretty miserable one though. I had a bit of a crisis of confidence in the work I was making which is bad enough but when you are surrounded by lots of smart, talented people it kind of compounded the feeling that maybe I was a little out of my depth. Anyway I had a much better second year and felt much more a part of things. My work came together well and I ended up doing a decent final show.
As far as great tutors go, I found that their influence seemed to diminish the higher up the system I got. I still regard my art teacher at school, a guy called Dave Barton, to be the biggest influence on me. I think that a big part of teaching is about creating the right environment. The art department at the school I went to, as I'm sure it is at many others, was a bit of a sanctuary for all the misfits and weirdos. I can't really remember being taught any specific skills, it was more about being in a relaxed and creative astmosphere. A couple of others deserve a mention, Dave Morris my Lecturer at Liverpool, was a great 1970's style art school tutor. And Eric Bainbridge at the RCA, although I think I liked him because I liked his work. Thats an important thing in teaching I think, to practice what you preach."

How do you pay the bills? Can you live off your art work?
"I teach full time at a small school in Sittingbourne for kids in foster care who have behaviour/learning difficulties. I sell the odd piece but I have a house and family so I really need the steady pay. I also do a fair bit of commercial work."

Do you think the London art scene has gone down hill in the last 10 or 15 years? Do you think there's too much bad, fake and dumb art out there?
"I'm not sure I am the best person to ask this, having spent over ten years living in the artistic wilderness of north Kent. I do try and keep in touch though, mainly through the internet. I went to art school in the mid to late nineties, during the highpoint of the YBA's and the Sensation generation. There was a sort of (naive) sense that a conveyerbelt had been started in motion and that a Saatchi or a Jay Joplin would be waiting for you when finished art school to make you a star. I think I may have been guilty of making one or two pieces for my final MA show that I thought Saatchi would like, which I think is at the heart of a lot of problems. I remember Saatchi did come to see our show, accompanied by Martin Maloney. He didn't buy anything and left. At that moment I think there was a horrible realisation among a lot of the students that that was their chance gone, or their chance at fame at least. I went to see the recent Newspeak shows at the new Saatchi gallery on the Kings Road. I think the shows were intended to act as a barometer for where new british art was at the end of the noughties/start of the teenies.
I liked a couple of artists in it, Barry Reigate and Ansel Krut spring to mind, but overall I was left feeling pretty cold. I get slightly depressed when I enter a room full of deliberatley ambiguous paintings, objects or videos with accompanying statements that suggest that the viewer's interpretation is a key 'material' in the work. One of the artists in Newspeak was the winner of 'School of Saatchi', a sort of X Factor for contemporary art. I saw a few of the finalists from that a year or so ago at the RCA show private view. I stood and observed a couple of them as they swanned around acting like celebrities. I thought it slightly strange, given the show's ratings. The YBA's were a hard act to follow, I think there are a lot of good artists out there. Unfortunatley there are also a lot of artists doing stuff that they think other people will think is cool, which is a little sad I think.
There has been a lot of talk about how the downturn in the economy will effect the art world. Some say that austerity breeds creativity,so perhaps we're in for another golden age."

You make references to Richard Hamilton and a few other artists in your show. Who are you art heroes?
"The British Pop artists are big favourites of mine, in particular Peter Blake. I got the chance to meet him once at college but I was so nervous I think I told him "You're Peter Blake". I grew up in Chatham,Kent the hometown of Billy Childish. Over the years I've grown to admire him more and more, I love the fact that the mountain has been made to come to him. Most of my art heroes are Americans, Joseph Cornell has always been a source of inspiration. Over the last 10 or 15 years the comic book artists Daniel Clowes and Chris Ware have been as big an influence as anyone I can think of. There is another American artist, Taylor Mckimens, who is about the same age as me. When I first saw his work I remember thinking Bastard! I wish I'd done that."

(Above image: "Just What Is It That Makes Today's Homes So Depraved and Appalling?"

What's your favourite of your own works in the show?
"I like the piece The Crossing. I like it because it was a bit of a breakthrough in my cut-out method of working. Also when I look at it I can see lots of different possibilties for other pieces."

(Above image: The Crossing)

What are you working on now / what will your next project be?
"I am working on a series of cut-out box pieces based on my experiences and recollections of an area of woodland near Chatham. I also want to start making some articulated/moving pieces, that light up or do different things when you press a button, a bit like old local museum dioramas. First of all though I want to do some drawing. I have an idea for a comic strip called 'The Star Wars confessions'. I've been asking friends to tell me childhood memories that in some way relate to Star Wars. For example my friend Dan's sister melted the legs of his Luke Skywalker action figure. Rather than throwing him away he carefully constructed a wheelchair for Luke that Chewbacca pushed around (I like the idea of Chewie working as a hospital orderly). The ramp entrance on his Millenium Falcon toy really started to come into its own after that."

What's the best thing about being Kevin Wayne?
"I don't want to sound too corny but I have a great wife and two beautiful kids who I love and adore. Anything else is a bonus."

Q & A with Marcus Cope

2011-08-27T00:44:00.000-07:00

(Above image:Neophron Pernopterus 120x85cm oil on canvas 2011)

1) Why did you start painting and why do you continue to devote so much of your time to it?
Marcus Cope: "I guess I must enjoy it, although it doesn't always feel that way when I leave the studio. Like a lot of artists I was good at drawing at school and made the traditional route through A-levels, Art foundation, BA and MA, and I'm still doing it. I guess giving up would feel like failure (That's why I never wanted to give up smoking). I remember there was an expectation from my parents that I would go to university, as my elder brothers and sister had. Obviously I wanted to go against that. My dad was an abusive man and an alcoholic, so when the time came it seemed like a good opportunity to leave home and get away from him. I was a bit of a slacker when I was younger and I only did two A-levels, Art and Design & Technology (which I like to think of as 'Drawing & Painting' and 'Drawing & Making') so my only option for further study was the Art Foundation. I was drawn to painting because of it's simplicity I think, you have all your tools and materials with you ready in the studio at the start of the day. The focus of the day is what is going on in that square or rectangle (etc) in front of you."
2) Tell me about your show in Redchurch St - are you feeling smugly confident about it?
"The show is at studio1.1 and will consist of nine paintings all featuring a different species of either Old or New World Vulture. It is called 'Carrion', a play on words (relating to the previous question 'carry on' and also what vultures eat). I'm pleased to be having a show at the gallery so soon after my last, as it has directed my focus, and given me an urge to develop a very different show to my last one. The works in this show are much more disciplined, and will sit together as a clear series."

(Above image: 'Gyps Rueppelli', 120 x 85cm, oil on canvas, 2011)
) What are the people who run that space like? Do you think getting on in the London art scene is all about who you know and who goes to the right party?
"Michael Keenan and Keran James run the space, and they are both very thoughtful and enthusiastic about the art that they show. Keran is an artist as well so he is very understanding of what you are trying to achieve. We are friends now etc. I've been in very few shows in London that have not been organised by people I know, it's surprising because I am such a good painter, but it does emphasise that thing about networking, and yes, it is usually who you know. I'd still like to think that quality rises to the top. It also highlights how few people look beyond their own circles of friends/contacts when curating shows."
4) Do you think art should always be free for all? Would you consider charging people £1 to enter to see your current show? (Or maybe they could give you gifts instead of money)
"I'm surprised that people look at art who aren't artists. I wonder what it is that they get from it. I like it when you pay for a show because it really makes you wonder what the act of looking is all about. Whether it's worth more than seeing reproductions, or whether the money could be better spent elsewhere. These days the Tate et al are selling exhibition catalogues for just a bit more than the exhibition entry, I often feel greater desire to purchase that than go into the show. Charging people inevitably puts some people off, which isn't really fair as many artists are very poor. For commercial or independent galleries it's a different situation because they don't have the overheads of the major galleries. Lot's of artist run spaces run a bar at the private view to help cover the rent etc. It's great when lots of people come to see your show, why put them off by charging? If they really want to pay they can just buy one!"
5) Are there any things about the art world that you'd like to see stamped out?
"There is a problem with exploitation, which probably stems from there being too many artists, and too many of them with career aspirations that outweigh the quality of the work they make. There is too much unhealthy commercially focussed competition amongst artists in London. It's quite sad really."
6) What's next for Mr Cope? Do you have your next 3 shows planned out?
"I'm in a four person painting show in Newcastle in a couple of months that a very good painter called Kevin Mason is putting together, then it's going to tour to York University in 2012. I'm also going to be curating a show in December at a lively new gallery called B&N opening soon in Shoreditch. The third thing you'll just have to google for....if you are that kind of artist."
7) What are the best things about being Marcus Cope?
"Having friends like Harry Pye!"
8) Do you like giving lectures to young art students?Can you imagine doing more teaching as the years go by?
"Of course I do. They are so enthusiastic and open and unfazed by the art world. I'd really relish a teaching post but it seems to be getting further away from me now that more and more failed artists are doing that PGCE nonsense, taking all the jobs away from artists who are more concerned with their own practice than buying a house."
9) My friend Rowland says you sometimes look like Tommy Cooper. Do you think his comparison is fair enough?
"Yeah, why not? I liked it when I was living in Cyprus and you sent me an email saying your friend John thought I was a poster boy for some ad campaign. Perhaps it was Calvin Klein...?"
10) There's a saying: "Writing is re-writing" do you think good painting is all about editing?
"If only I'd had time to re-write these answers.....Too right it is. My favourite paintings (usually), are those where you can see the errors, or the underpainting, the layers and the painting's history. The thing about painting is that it is not design, you can't just draw it out and colour it in, and even when you try, the results are usually pretty dull. Perhaps this goes back to an answer to the first question, the reason I still paint is because making a painting can (and should) always still surprise me, and often does."

(Above image: Aegypius Calvus 120x85 cm oil on canvas 2011)

Q & A with Hugh Mendes

2011-08-19T11:30:00.000-07:00

Over the last decade artist Hugh Mendes has been collecting newspaper clippings of obituaries and other world events. To mark the tenth anniversay of 9/11 he is showing paintings, drawings and original clippings related to the event and its aftermath, including a list of all those who died on that day. The exhibition takes place at Kenny Schachter Rove, 33-34 Hoxton Square, London, N1 6NN from Sept 9- Oct 1 For more info visit:http://hughmendes.com/

IMAGE: (Detail of "Eight Years On" painted by Hugh Mendes)

The Rebel: Are you excited about your new show?

Hugh Mendes: "Yes I am! That includes a certain amount of nervousness and anxiety dreams, some quite absurd. It is 10 years worth of work and I have been planning and working on it for over a year now. It is probably the biggest and most significant show I have had."

Image: Obituary: Saddam Hussein 25 x 35cm 2006

When you spend a long time looking at the faces of people like Saddam do you begin to feel close to them? Do you feel a sympathy for your subjects?

"I do feel a certain sympathy or empathy, especially with the obituary paintings. They are dead and I am paying tribute, memorialising them. Contemplating their lives. I sometimes do other things to 'tune in' to the person. For example when I was painting 'captain birdseye', I bought and ate a few fishfingers for the first time in years (I am a vegetarian). They were a staple of my childhood. I choose my subjects for a variety of reasons: iconic images, personal connections, interesting photos or portraits. I have to have a sustainable reason to paint them as it does take rather a long time. Looking at that face developing over a period of days or weeks. In the case of Saddam, I chose a particularly poignant image. He looks quite handsome, he is glancing worriedly over his shoulder. It was taken from an image at his trial. He had such an ignominious end. I could not watch that video of his hanging by what appeared to be a bunch of thugs wearing balaclavas. Obviously he was also a dictator and mass murderer, so there are at best mixed feelings. It is part of our collective history..."

Do you have any art rivals or are there any artists that you’re often compared to ?

"I was once compared to Gerhard Richter in a review in 'contemporary' magazine. That was rather flattering! I am very interested in other artists whose practice overlaps with mine. There have been many examples. Sometimes there can be a sense of mild jealousy when someone else has more success or sales, but generally I am happy with any artist's relative success and especially when it is well earned, or I admire their work. It can be slightly galling when a very mediocre artist is highly successful. The 'art world' is a fickle place, but I have to say I am very happy to feel a part of it, and even in the hub with my lovely studio in Hackney."

Would you be offended if a critic described you as a great illustrator rather than a great artist?

"I have not heard that term of distinction for some years. It was something people used to discuss a lot. For instance in David Sylvester's interviews with Francis Bacon, and when I was first at art school. I remember thinking of Hockney as a good illustrator, but unfortunately an illustrative painter. I just think of myself as a painter. I also do a lot of drawing, and collage work... I think that pejorative use of the word has almost lost relevance in this post, post modern era, or whatever it is...?"

Why did you pester Lucian Freud? What did you want from him?

It was after Francis Bacon died. Bacon used to live just near my father and they would see each other in the corner shop in South Ken. I used to think how I would have liked to see Bacon's studio. It was so iconic, as the archetypal messy artist's studio. I thought of Freud's studio in a similar way. I wrote to him asking if I could visit his studio. I have always had a fascination with artist's studios. I love snooping around in them. You can learn so much from a studio, such as working methods and practices. I love the smells of turps and oil etc. It is so evocative. I once stopped painting for a couple of years (took up design and film making). Then one morning I woke from a dream in which I was painting again, and opened a bottle of turps. I was immediately sent into a state of rapture from the smell. I have been painting ever since. Anyway, Freud bizarrely wrote back with a sweet postcard of one of his early paintings (in some ways my favourites). It said: Dear Mr. Mendes, please leave me be. I am running out of time'."

Did you get a good education?

"Yes. I had a good art teacher at secondary school. He was called Dick Lilley. My aunt worked in the local art school shop. I went to Saturday morning classes there, I guess in my early teens. I never really bothered with academic subjects at school, though I was good at English. I failed art A level, which when I went to Chelsea art school they thought was quite an unusual achievement. I was at Chelsea during what in some ways was its hey day. Staff included Hockney, Uglow, Aitchison. Sometimes they took the piss and were drunk at lunchtime. But I learned a lot about colour, drawing, tone. Also printmaking and working 9-5, every day. I was hanging out with artists. Also we hosted the first couple of Sex Pistols gigs... the kids from down the road at Mclaren and Westwood's 'Sex' shop. I then had a bit of a break between my BA and MA, including a 7 year sojourn in the states. I came back here in 2000 to do an MA at City and Guilds art school. That was a major turning point. As is well documented, I graduated on 9/11. Since then, its just been painting, teaching, curating, having shows all over the world. Its been a good ten years leading up to this forthcoming 'anniversary' show."

What was the last piece of music you heard that you really made a connection with?

"I love music and listen to a lot. I enjoyed PJ Harvey's last album 'Let England Shake'. I listen to a lot of Jazz. Like Charlie Parker, or Sun Ra. Sometimes I can't listen to music with lyrics when I am painting as I have to be able to really concentrate. When Guru died, I bought and listened to a lot of his music. Like the first Jazzmatazz album. Weird mix of Jazz and Hip Hop. I listened to lots of Wu Tang Clan when painting ODB's obituary..."

Are things going well in Hugh Mendes' world? Do you feel quite perky?

"Generally pretty perky thanks... I recently got engaged...I am highly energized in the run up to my show. I enjoy working really hard and consistently over a sustained period of time."

Van Gogh once said to his brother: “It depresses me to think that even when it’s a success, painting never pays back what it costs” Can you relate to this way of thinking?

"I find it very rewarding. It certainly can be frustrating as well. Generally it gives back what you put in. I feel that generally about life. I enjoy my life and my life as an artist. I love coming to my studio. Drinking coffee, looking at the newspapers (that's different to reading them!). Painting, thinking, etc... Sometimes I think I would like to sell more, but that's a different kettle of fish..."

Is it important for artists to sometimes question everything about their own work?
"I would think so. In a way, one is constantly questioning everything about it. I know some artists find this very difficult, even undermining. I enjoy that aspect of it. Having to think really hard, engage deeply and repeatedly. I do quite a bit of teaching and that certainly helps with that process. Having to think about art and painting. Looking at other peoples work a lot. I have always been fortunate to have a lot of artist friends who I respect and can engage with in that way. I like going to shows and looking at great works of art. Unfortunately of course one sees a lot of terrible shows as well... But you only need to see one thing that is fantastic to be totally inspired and driven back to the studio..."

(Image: Obituary: Osama bin Laden 25 x 35cm 2011)
For more info:www.rovetv.net

Q & A with Marcus Freeman

2011-08-19T11:17:00.000-07:00

Mr Freeman's exhibition Landscape opens on Wednesday 28th of Sept at The Sartorial Gallery (26 Argyle Square, WC1H 8AP)

The Rebel: Tell me about your new solo show – are you feeling good about it?

Marcus Freeman: "It's about half a dozen works and they are a more intimate size than my previous works. Also, this time they are predominantly landscapes. Adrian Searle commented that Edward Hopper - whom I much admire - "did not do nature well". And whilst I make no comparison, I fear the same might be true about me, so I wanted to see. Despite all the work yet to do, yes I do feel good about it at the moment."

The Rebel: Do you have to be in a certain mood to make work? Do you have to be alone, stone cold sober in a quiet tidy room with no distractions?

"The urge to draw comes in waves, a few productive days or possibly weeks in months of more or less nothing. However the painting is quite methodical, although much more messy than you'd image. Its a surprisingly chaotic business making what most people would think of as 'neat' work, and I am not a tidy person. And once you've got a show, you have to work no matter what your mood."

The Rebel: What were the art books and exhibitions that inspired the young Marcus into being an artist?

"I think I most admired a monograph on Mondrian, he had such a clear progression throughout his career and that has always lurked somewhere in the back of my mind as the natural artistic narrative. I don't think I went to exhibitions when I was truly young, we went to Athena, and I think that has left an impression on me too, for better or worse."

The Rebel: What do you want out of this show – are you looking for love, back slaps, fame, money etc

"All of the above and in that order. I may have to be patient though."

The Rebel:Do any politicians think the way you do? Are there any people who go on Question Time or Newsnight and say things that make you think they are kindred spirits?

"Less and less often. But currently Will Self seems the only human invited onto such shows. Though Hugh Grant is an amusing diversion."

The Rebel: Did you get a good education?

"Yes, though without much flourish. They didn't do Fine Art at my school, as they said there was no future in it. We had Art and Design and were tracing lettering and so on from the start. I always wondered what impact that had on my later direction. I have straddled those two worlds ever since, in turns jealous and dismissive of both. But I've never been a good 'joiner in', so maybe I'm to blame."

The Rebel: What’s your favourite item of clothing?

"Whatever is clean. To my girlfriend's eternal disappointment its my only criteria. How ironic my current gallery is."

The Rebel: When do you feel calm and secure?

"Touring historic sites, castles, antiques markets, garden centres, book shops etc, wearing a cagool in drizzle. It reminds me of all my childhood holidays - all the things you swore you'd never do when you grew up. I read that the wife of an outgoing French Ambassador to London dismissed English holidays as 'stripping wallpaper in the rain". Sounds idyllic to me."

The Rebel: Do you like Elvis Presley’s later Las Vegas years or do you think he stopped being good quite early on?

"I would definitely go for the early days or even weeks, but thereafter we part ways."

The Rebel: What will you be doing once you’ve answered these questions?

"Emailing them to you, otherwise there would be no point, surely?"

For more info on the show visit: www.sartorialart.com

Summer Special edition of The Rebel sells out

2011-08-03T12:03:00.000-07:00

On Thursday 28th of July a splendid time was had by everyone who went to the L-13 gallery for the private view of The Four By Four exhibition and The Rebel magazine launch party.

The photo above shows artists Emma Coleman, Tom Pounder, Aleksandra Wojcik, Edward Todd and curator Harry Pye. The show has had very positive mentions in The Guardian Guide and the Pop magazine blogspot. The Rebel launch was a complete success - there are only 4 copies of the current issue left, these four copies have all been signed by the 4 artists and will soon be on sale as collectors items worth £44 and 44p

(Above: Billy Childish)

(Above: Vanessa and Liz)

(Above: an understandibly excited Helen James)

(Above: Del)
(Below: Elsa)

(Below:

(Above: Josiah Steadman)
(Below: Ania with Harry)

(Below: Mikey Georgeson)

(Above: David C. West)

(Above: Artists Emma and Alex)

(Above: Twinkle and Tinsel)

(Above: Kate Janes)

(Above: Richie Lamby)

(Above: Rebel writer Sarah Thacker)

(Above: Liam Scully)

Steve Mason & Dennis Bovell DJ at Shacklewell Arms, Dalston

2011-07-26T04:49:00.000-07:00

New owners have taken over The Shacklewell Arms, an East London free house
- Individuals involved in relaunch include those from Eat Your Own Ears, Pub on the Park
- Real ales and real ciders will now feature on the drinks menu
- Brand new PA system installed in venue room

The Shacklewell Arms
71 Shacklewell Lane
Dalston
E8 2EB
020 7249 0810

Free House
Real Ales. Real Ciders. Real Garden.
Regular live and electronic events
Premier + Champions league football shown
Pool table

Opening Times:
Mon - Thurs 5pm - 12am (unless stated otherwise)
Fri - Sat 5pm - 3am (unless stated otherwise)
Sun 5pm - 12am

Cocktail jugs £12 / £8 5pm - 7pm week days

info@shacklewellarms.com
www.shacklewellarms.com
www.facebook.com/ShacklewellArms
http://twitter.com/ShacklewellArms

First show at Chateau Joffe opens on Sat 30th July 6-9pm

2011-07-13T11:29:00.000-07:00

Joffe et Pye features work by Jasper Jofe and Harry Pye that was inspired by friends, family and a love of French art. Harry will be exhibited some non figurative paintings for the first time and Jasper has made some flowerpots.

(Photo above of J&H at the National Gallery by Aleksandra Wojcik)

Above Image: "The Power of Suggestion" (Part 8 of 16)

Private View: Saturday July 30th 2011 6-9pm
Dates: Sunday 31 July to 28 August
Open only on SUNDAYS 12 noon till 5pm
Address: Chateau Joffe, Shoreditch, London
Unit 3, 7C Plough Yard, EC2A 3LP
Tube: Liverpool Street or Old Street
Jasper has designed a map to help you find Chateau Joffe more easily:

The turning into Plough Yard is indeed next to the Drunken Monkey 222 Shordeitch High st)

Below: One of Joffe's Flowerpots

Nev Staple Live in Lewisham

2011-07-09T13:13:00.000-07:00

Neville Eugenton Staple was born in Jamaica and he grew up in Coventry rather than South London but he was the perfect choice for this "Lewisham People's Day" event in Mountfield park and he really delivered the goods. The previous act had been a young local guy doing human beatbox stuff. He managed a reasonable cover of "The Message", paid tribute to Snoop Doggy Dog and then got the kids on his side by doing the theme tune to Bob The Builder.
Before Mr Staple took to the stage the DJ played "Train to Skaville" and as more and more people started arriving I had a feeling inside that this was going to go well. The set began with "Man at C & A" from the More Specials album. A few songs later he announced that he wanted to dedicate a number to everyone in the audience and his band performed an absolutely perfect version of Message To You Rudy. It went down a storm. In fact there was a couple of moments when crowd went so wild that Nev looked rather taken aback. The Specials used to be a people's band and so many of those great songs worked brilliantly at this free event. A sincere "Doesn't Make It All Right" was really quite moving. "Do The Dog" (with additional "Woof Woofs") got everyone going and the skanky version of the daft Fun Boy 3 track "Lunatics" was also a treat.

His band (who have been working with him since 2004)compliment him perfectly. There were great guitar and organ solos and the trombone player was particularly good. Their cover of my favourite Bob Marley song Simmer Down was brilliant and his take on "Johnny Too Bad" was pretty good too.

I'd seen Nev and his band perform in Brixton late one night a year or so ago (see photo above)and they were absolutely fine but this show really was special. At one point he told the crowd "I'm getting on a bit" but watching him dance away to "Gangsters" with a great beaming smile on his face it's obvious there's still an awful lot of life left in him. The crowd loved him and like myself were all delighted to see the return of this rude boy.
(Below: Nev and co on the cover of an issue of Smash Hits I bought for 20p in Lewisham's Popular Book Centre many moons ago.)

Q & A with Jerry Dammers

2011-07-04T03:19:00.000-07:00

One of the first concerts I ever went to was "Freedom Beat" this mind blowing Artists Against Apartheid extravaganza featuring Boy George, Hugh Masekela, Elvis Costello, Sting, B.A.D, Paul Weller, Sade and many others took place on Clapham Common in 1986. Jerry was one of the main organisers of that show and he went onto help with the huge Nelson Mandela event in Wembley Stadium two years later that was broadcast live to a billion people in over 40 countries . He was also of course the founder of the legendary 2-Tone record label.

(Above: A classic Chalkie Davies photo from 1980. The suit Jerry is wearing is now part of the collection of The Victoria & Albert museum.)

It's been an interesting couple of years for Jerry. He's very involved with the Love Music Hate Racism organisation and was one of the headliners at a big festival in Liverpool that honoured the memory of murdered Huyton teenager Anthony Walker. He made his Glastonbury debut performing with reggae star Johnny Clarke and 60's legend Arthur Brown, he appeared on BBC2's Later with Jools Holland, he completed a funsize tour with his Spatial A.K.A Orchestra which won him the best reviews of his career. DJ Gilles Peterson gave Jerry the "John Peel Play More Jazz Award" at his Worldwide Awards ceremony in January. More recently he stood in for Jarvis Cocker and hosted an edition of BBC6's Sunday Service show which he dedicated to the late Gil Scott Heron and put in a special guest appearance at Ray Davies' Meltdown at the Royal Festival Hall. Old friends Dick Cuthell and Rico Rodriguez have collaborated on a new track with him, he’s also been working on a 10 minute masterpiece that will hopefully appear on the poet Anthony Joseph’s next CD, he wants to get his Spatial A.K.A. Orchestra on the road again and Suggs from Madness has started a rumour that in November Jerry will be judging a nobbly knees competition in a Butlins holiday camp (as part of The House of Fun Weekender).

(Above: Tom Sheehan's photo of Roots Manuva, Dammers and Junior Delgado in London, 1998)
I’ve met Jerry a couple of times over the years. The first time I met him was when I was living in Stockwell and he was Dj-ing in a nearby club where people either danced or played chess. I think this was around October 1997. At the time I was doing a fanzine called Frank Magazine and I persuaded him to fill in a questionnaire…

FRANK MAGAZINE: You're DJ-ing tonight at 'Weird Science' what's going to be the musical highlight? Which one of your platters will really matter?
JERRY: "Zion 10 A.K.A. Congo Natty A.K.A. Rebel MC."
Can you dance better than you can sing?
"Depends on the tune."
What do you love most about the life you lead?
"My girlfriend"
What do you love most about south London?
"My girlfriend."
Were you a little jealous that Tricky worked with Terry Hall on a version of 'Ghost Town' instead of you?
"No, because I've already worked with Terry Hall on a version of 'Ghost Town'. Ha Ha."
Are you now free of Chrysalis Records and able to sign up with anyone you wish?
"My girlfriend."
Who would you most like to see get to number one next year?
"Junior Delgado, Roots Manuva and myself. Although, as Jimmy Saville once said; 'You don't have to be number one in the hit parade to be a number one guy.' "
Finally, what is your message to the readers of FRANK?
"Your secret is safe with me."

Frank had recently been awarded the title “Fanzine of the month” in I-D magazine and had been given some Arts Council money but when I showed a copy of my fanzine to Jerry I got the feeling he was less than impressed. I told him that my friends and I had a launch party whenever a new issue came out and asked if he would consider Dj-ing at a future one. “Sure…” he replied “Where’s it going to be… in a phone box?”
However, about 9 years later our paths crossed again and he did DJ for me as part of a tribute night/art exhibition celebrating the life of John Peel that I’d organized in Shoreditch. As well as playing records Jerry helped with the event by acting as m.c. He introduced Peel's old friend Lol Coxhill to the stage to perform a little jazz improvisation. (Ray Davies says that Coxhill introduced him to the music of Prince Buster which had a big impact on his songwriting. Coxhill has played with everyone from Mike Oldfield to The Damned and once recorded a solo album on Peel's Dandelion record label). Jerry also read out a poem he'd written especially for the night about his respect for John Peel.
The main reason for meeting up again was that a student writing his dissertation on The Specials had asked for a little help with research. Jerry said answering the questions would help him prepair for an interview he was doing later that afternoon for The Independent who are planning a feature about the 30th anniversary of Ghost Town getting to number one.
Me: "Ok Jerry, the tape recorder is being switched on. A young student called Thomas Winrow has e-mailed me a few questions to ask you to help with his essay on The Specials. The first question is: What was special about The Specials and why did they voice the anger of an entire generation?"
Jerry: "What was special about The Specials? (Laughs) Well... above all else, what was special about The Specials was the name (laughs). The story behind how The Specials got their name was that it sounded like a very drunk person trying to say "The Sex Pistols". My masterplan was that we had followed on from The Sex Pistols. There was The Pistols, then The Clash and then The Specials (obvioulsy The Jam were thrown somewhere in there too). But it was supposed to be following on from The Sex Pistols and the name The Specials was supposed to be ironic. We weren't special at all in theory. We were supposed to be mr nobody from nowhere - or anybody from any town. We even sang a song called Nobody Is Special. It was all supposed to be ironic."
And the second part of his question is how come you ended up speaking for an entire generation?
"I don't think you can say we spoke for an entire generation. Ultimately I was speaking for myself but a lot of people related to it. But, a lot of people just liked the music to dance to and a lot of people probably just liked the clothes. I don't think every single person who liked The Specials necessarily agreed with all the lyrics. But I do think it tapped into what was going on and that was certainly the intention."
Do you see most of the songs on the first album as being political?
"Well, I saw myself as a Socialist and I was always angry aout the state of the world and social issues and inequality. On the first album Do The Dog was pretty much a socialist lyric. One theme that I personally picked up on was that I grew up in the 70s during the original skinhead era and I just saw so much fighting amongst working class people. There was football violence and the whole racist thing so The Specials were supposed to be fighting for justice rather than just fighting each other."
(Jerry points me in the direction of painting on the wall that he made whilst at art school. The painting has a slight Edward Burrah feel about it. It's main refernce though is "Liberty Leading The People" by Eugene Delacroix. Amusingly one of the main figures in Jerry's version is wearing football shorts that feature the famous black and white 2- Tone design. I ask him when he painted it and he says he did it in 1974 after seeing a Manchester United football match)
Jerry: "It's quite good innit? It was meant on a satire on the British working classes fighting each other when they could have been fighting the system."
Me: "Ok, Thomas's next question is about Ghost Town: Do you agree it was he soundtrack for the 1981 race riots?"
Jerry: "Yes. I don't like the term race riot but it certainly became the soundtrack for that. A lot of people forget the first riot in Brixton was actualy a year before. Some of the ideas for the song such as the line "The people getting angry" was based on that first riot. The riots went national by the time Ghost Town was released so it was very much a reflection of what was happening. We were on the edge of it all. It was very much a black led thing. The original anger was primarily a black thing."
Do you think it's the one song you'd like to be remembered for?
"I think it probably is the best song but I'm proud of What I Like Most About You Is Your Girlfriend too. Obviously it's not political at all but it's universal. I try to avoid being politically narrow. But I think musically Ghost Town is the best but lyrically I'm proud of songs like Girlfriend which are humorous about human relations."
Another question from Thomas: What is The Specials legacy?
Jerry: "I'm never sure what the word legacy actually means. If I knew I could tell you. What is a legacy Harry?" (Laughs)
Me: "I think it means a gift you leave to people after you're gone. What did The Specials leave behind?"
Jerry: "It's easy to be cynical but I think The Specials were part of a process - we weren't alone by any means, but they were part of a process that helped things improve. Racism was very normal in the playground of my school and everywhere else when I was growing up. There's still more to be done but I think things aren't as bad now as they were then. The Specials didn't stop after the Fun Boy Three left. We carried on as The Special A.K.A and did Free Nelson Mandela. That continued the process on a global level. Without wishing to exagurate I do think that song helped considilate and focus things that other people were doing and I think things did change for the better."
What's your favourite Specials lyric?
"I like the line in Stereotypes: Police chase him home through the dark rainy night, Fluorescent jam sandwich with flashing blue light. It's surreal but right."
Do you remember where you were when you came up with it?
"Yes, I was in a pub enjoying a pint. We had a huge crisis deciding whether it should be "He's just a stereotype" or "I'm just a stereotype". We wanted to include ourselves in the song we weren't trying to point the finger."
And what about the song “Why?”? That’s a powerful song but they don’t seem to perform it anymore.
Jerry: “Oooooh. Let's not go there. (Laughs.) Yeah I loved “Why?” “Why?”was great. I didn’t write that one.Ghost Town was about Coventry and it wasn't uncritical. I think the song is saying Ghost Towns are a result of people not appreciating what they have. In Coventry the Triumph Motorbike factory nearly became a worker's Co-Operative and there were other very noble attempts at protecting the position Coventry had but the writing was on the wall, globalisation was coming. Labour was slowly being farmed out to the third world. People couldn't see what Thatcher was doing and so our message was: don't be complacent, even when things are going well they can be taken away at any moment. Terry's song on the other side, Friday Night and Saturday Morning made the point that we're pissing our lives up a wall and Lynval's song Why? made the point divisions and racism would not help anyone. So the three songs do compliment each other very well."

I'm trying to get all The Specials to sign my copy of Do Nothing. Lynval Golding wrote the song. You're credited as arranger on Do Nothing.
"Am I? I forgot about that."

(Above The Specials in 1980: Brad the drummer is at the back wearing a white shirt and bow tie. Also at the back, all dressed in black is Roddy "Radiation" Byers. Looking rather serious seated on the front row is bass player Horace Panter, leaning over him is singer Nev Staple. Underneath Brad's bow tie we see a young Jerry sporting a beret. Lynval (who composed "Do Nothing")is wearing a cap and young Terry Hall is doing a bit of a Christine Keeler pose with his chair and looking rather moody.)

(Above a scene from the Ghost Town video directed by Barney Bubbles)
I ask Jerry if he has a message for Tom?
Jerry: "Good luck with it. And I hope I've given you at least a bit of insight. I'll quickly go into the politics of the times a bit. From my perspective Margret Thatcher had this monetarist policy which basically involved shreading huge amounts of pound notes and taking money out of the economy which was designed to counter act inflation but it also had the side effect of closing down half of the British Industry because a lot of nationalised Industry the main motive wasn't the profit of whoever was running it - the wages of all the people working for it were the profit - but to her way of thinking that didn't count. So huge parts of Industry closed down. It's Ironic because she made Napoleon's diss of Britain come true which she wouldn't be pleased about. Napoleon said we're a nation of shopkeepers and Margret Thatcher actually made it come true. Ghost Town was a protest song about that. The sad thing is that riots did actually force them to change some policies. I'm not a fan of violence at all. I think it's sad that it takes riots to make some people re-think. It was the Poll tax riots that finally got rid of Thatcher. It's sad that people have to get pushed to that level before things change."
Me: "The slogan from the poll tax riots ("Can't pay, Won't pay") was quite hard to arque with."
Jerry: "It was just an unbelievable day... they completely lost control of the centre of London. There was total anarchy and the shops were being looted. I don't believe in the glorious revolution. I believe in the rather horrible but sometimes necessary revolution."

Q & A with Viv Albertine

2011-06-23T11:00:00.000-07:00

Ms Albertine was of course the guitarist in the legendary punk band The Slits. You can find out details on Viv's latest releases and shows here:http://www.vivalbertine.com/

1) How highly do you rate the Flesh e.p? Do you tend to think your most recent record is the best you've made so far?
"Well, it's hard to rate your own stuff and I haven't made a record for 25 years. I am happy with the songs. I could instrumentalise them a hundred different ways."

2) Do you think it's good that Mick Jones has reformed BAD? Will you go and see him play live?
"Not good to judge other people. I went to see BAD play and I thought they sounded great. Good songs. Good energy. If they keep writing new stuff then they are an evolving band. If they just keep playing the old stuff, best to only do it occasionally."

(Above: My photo of Mick from July 2009. Viv inspired Mick's London Calling song "Train In Vain")

3) Everyone seems to say nice things about Dylan Howe - is he all good or does he have a dark side?
"Haha. Well he is a sweetie and a very gentle person. He produced Flesh ' and saved me because I hadn't been in the studio for years. He took control which was such a relief and we worked really well together. It was a great session and a good re introduction to the studio for me to be in his capable hands."

(Above: The Blockheads. Dylan is on the far right.)

4) I read that you took part in the Stoke Newington Festival and that you talked about your love of ska. Was the event a success and what sort of thing were you saying?
"I was talking about how me Tess and Ari used to go to all night Jamaican sound system clubs in the 1970's. The only Whites there and girls too! No one gave us a hard time. We were left alone to enjoy the music. Not ska though, it was dub and sometimes in another room, lovers rock."
5) When Pete Waterman is asked what his favourite pop single is he always goes for Marvin Gaye's Heard It Through The Grapevine. Is the song perfect in your eyes too? Do you listen to much Motown music these days?
"I LOVE Motown. I grew up on it. I remember when I first heard grapevine and I can still see the original video in my minds eye of a cool black girl dancing, shot with a wide angle lens. A beautiful song. Our version is great too. I can't believe we had The nerve to cover such a great song!"

6) How many instruments can you play?
"One."

7) Tell me about the world of ceramics - are there any interesting young ceramacists out there that deserve a bit of praise? Do you visit all the degree shows?
"God no."
8) What is the most recent song you've completed and what is it about?
"I just recorded a song with Jenny Lee Lindberg from Warpaint. It is a beautiful wistful song. 6 minutes long. I am making a record of collaborations with bassplayers."
9) Do any films or records have the power to make you cry?
"I cry at almost every film I watch if that's what the director intended. I am a complete sucker. I recently cried all the way through an episode of Glee. There are songs that make me cry, like You're a Big Girl Now by Dylan. Young Girl by Union Gap is very uncool but my mum always used to say it reminded her of me. And, When She Loved Me, from Toystory. An absolute killer. About a girl who grows up and leaves childhood behind. Breaks my heart. Seems to be a bit of a theme here! I cried at every sad song after I had a baby because your emotions are heightened and you realise how profound but fragile life is. And I cry at records when I am heartbroken."
10) Are you a happy person?
"No. I am melancholic. I am a realist. But I have massive dreams and sometimes I achieve them."

Q & A with August Kunnapu

2011-06-21T02:53:00.000-07:00

(Above: Painting of the Brazilian architect Oscar Niemeyer by August Kunnapu)

1) Has 2011 been a good year for you so far? What have been the highlights?

2011 has been a pretty active year for me so far. The highlight is probably a bike ride from mid-Tallinn to Paljassaare peninsula with my nearly 2 years old son Alberto. The wilderness was still there, although the place is getting more civilized.
I was also editing the 14th issue of the timeless magazine Epifanio with the main theme Space around us.
Most of the time I was preparing for the painting show ‘My Favourites’ for Gallery 21 in Riga, Latvia. I was portraying some of my favourite writers (Richard Brautigan, Daniil Harms), filmmakers (Kim Ki-duk, Michelangelo Antonioni), painters (David Hockney, Christian Schad), musicians (Devendra Banhart, Vashti Bunyan, Stuart Staples), architects (Alison Smithson) and sages (Dalai Lama, Amma). Some of them are set in specific surroundings, like the Russian avangard writer Daniil Harms is viewing the Nevski Prospekt from the balcony of the bookshop Dom Knigi in the late 1920ies St. Petersburg. The American writer Richard Brautigan is in harmony with the colourful geometric cityscape, which seems to be part of his inner world.

2) What is your personal favourite painting from the My Favourites show? (Please say why)

Usually when I’m preparing for a show, the very first or the very last painting tends to be the best one (I have noticed a similar phenomenon with film directors – their debut movie or the last movie is the best). In the particular case the last painting is my favourite – portrait of the Brazilian architect Oscar Niemeyer, who is meditating with his UFO-shaped Modern Art Museum at the background. When I’m portraying a person or a house, I always try to paint his/her soul.

3) Do you contact all the people you do portraits of? Do you get good responses and reactions from them or their families?

I haven’t contacted any of the ‘models’ I’m portraying for ‘My Favourites’. Some of them are in another dimension, some of them live quite far away from Estonia.
But I have made quite a lot of commissioned works and usually the people on the paintings and their families love them. The last portrait I did, is a portrait of my client, his old-school BMW and a ship in the background. I just finished it yesterday, so I haven’t felt his reaction yet.

(Above: August's painting of Stuart Staples from Tindersticks)

4) Do you think your paintings are changing? Do you think you're improving with age like a fine wine?

I feel that I’m getting more skilful, but I hope not too skilful. But the essence remains the same – interest in simple images and bright colours.

5) Most people I know in London have been recession hit or are worried about money. How are things in Tallinn? Are you worried?

I feel that things are getting step by step better in every field in Tallinn. I have talked to several businessmen, architects, artist and gallerists – they all agree with me.

(Above: August's painting of Alison Smithson)

6) Which new artists have impressed you recently? Have you been to any good exhibitions?

I was impressed with the album of the Californian pop artist Wayne Thiebaud at a friend’s place in Riga. He has a good sense of ‘genius loci’ and colour.
For the same reasons I enjoyed the 1970ies paintings of the Estonian artist Ludmilla Siim in our art museum in Tallinn.

7) What do you love most about the life you live?

I like the people and the paradox of a soul being set inside a body.

8) What do you think of Miro? There is a big show of his work on in London at the moment? Were you ever a fan of his work?

I quite liked his show in our art museum in Tallinn. His sketches and watercolors were on display. I also visited the Miro Foundation in Barcelona during the high school time. I like his spontaneity and sense of colour.

9) Is it good that PULP have reformed? What is your favourite Jarvis Cocker song?

Sure it is good. My cousin saw their concert in the Primavera music festival in Barcelona recently – she liked it a lot. I listened to PULP a lot during my teenager years. There are many favourite songs. ‘Dogs are Everywhere’ comes to my mind, although I’m more a cat fan.

10) What was the last film you saw that made you feel either really excited or happy?

‘Howl’ about the famous poem by Allen Ginsberg was pretty exciting.

Review of James Jessop's exhibition at Charlie Smith

2011-06-13T00:28:00.000-07:00

Bomb Chaser is Jessop's first one person show at the Charlie Smith gallery in 336 Old Street, London EC1V 9DR.
Visitors to the exhibition will get to see some very good new paintings and there is also a fantastic documentary being screened that fills you in on the artist's background.
James was born in 1974. In 1986 he recieved a copy of the seminal urban art book Subway Art as a birthday present and it blew his mind. The documentary film follows Jessop as he tours the Bronx with his graffiti hero Blade. You get to see some of the locations where Subway Art was made. Jessop's enthusiasm and excitement is infectious - it puts a spring in your step.
Since featuring in The Saatchi Gallery's New Blood show in 2004, James has shown his work all around the world with great success. I interviewed James in 2006 for an issue of The Rebel that was given away free to those who came to see an exhibition in Redchurch Street called People Like Us. James talked about growing up in Leighton Buzzard and being accepted by The Royal College and I asked him about how his work had changed over the years. James answered: "Well, other people will say that now it's more figurative and that it used to be more abstract. Or that it used to be more funky and rhythmic and now it's more crazy. To me it's just a logical progression and I still paint in oils and acrylics so it doesn't seem that different to me. I'm influenced by anything that grabs me... I like retro influences. I'm as likely to be influenced by a sexy 50's paperback of a horror story as I am by painters like Picasso, Guston, Doig and Ofili." I like this attitude and I think this way of thinking has resulted in some great work. I went to the opening of the show. It was very well attended, there was a good energy and lots of smiles. Shine on James Jessop.

Image Below: Curator of Unit 22 Gallery, Ania Cerelczak)

(Image below: James with the Daddy of the Charlie Smith gallery, Zavier Ellis)

(Image below: Artist and critic Olly Beck)

(Image Below: "Cheers")

(Image below: "The Three Amigos")

The Charlie Smith gallery is open Wed to Sat, 11am to 6pm. Bomb Chaser runs until Saturday July 2nd - Don't miss out.

Niven Govinden

2011-06-12T12:20:00.000-07:00

Niven Govinden is a writer. His novels include We Are The New Romantics and Graffiti My Soul
. Last week he was on radio 3 reading out a new story and he was also hit at the recent Stoke Newington Literary Festival:
http://www.newstatesman.com/blogs/cultural-capital/2011/06/stoke-newington-festival.
But the reason I know about him is because of the auction to help the brilliant radio station Resonance FM that took place on March the 20th. There were all sorts of prizes on offer including trips to Nepal and Cyprus, collectable prints by the cartoonist Glen Baxter, Lessons in how to play the bass guitar from John Paul Jones of Led Zep. Some people made bids for those things others made bids for things like The Tatler magazine to photograph their party or for a signed Rod Stewart record. Niven was the lucky winner of a portrait painted by Team Beswick and Pye!
We met when he came down to Gordon Beswick's studio in Old Street and we talked a bit about what writers and painters he liked. Gordon and I decided to do two portraits. The idea being that Niven could pick which one he wanted and the other could feature in an exhibition taking place at Jasper Joffe's new Shoreditch gallery in late July.

At the top of the page is a drawing I did with felt tip pens. Directly above is the Team Beswick & Pye masterpiece that Niven walked away with. He took the photo using the camera on his mobile. We've got some other snaps of him and the paintings which i'll upload later. Gordon and I are always happy to support Resonance FM - long may they continue!

(Above: Me on the steps of the Tate with Resonance FM host Bob & Roberta Smith and a Beswick & Pye painting that featured in the Frieze art fair)
(Below: Gordon Beswick hard at work in his Old St studio)

Below: Niven and me looking at both paintings.

Below: Niven makes his choice.

Below: Niven in Red.

Q & A with Andrew Petrie

2011-06-12T11:33:00.000-07:00

You can find out all you need to know about musician and writer Andrew Petrie by visiting his splendid new website: Bad News Immediately

Andrew recently agreed to answer a few questions for me...

1) Were there lots of musical instruments in the house you grew up in? Who inspired you to learn the guitar and piano?

"Only one musical instrument: the piano my mum bought me in 1979. I didn’t need inspiring because between the ages of six and eight I shared my bedroom with it. You couldn’t keep me away. I first picked up a guitar in 1985 and like thousands of 12-year-old boys before me (and since) I was inspired to learn by the Beatles. Boring but true."

2) Which contemporary musicians do you rate and why?

"The Fall - for being The Fall
Sonic Youth - for not going crap yet
Rufus Wainwright - for being the greatest musical talent to emerge in the past 15 years
Deerhunter - for finally making the album I knew they were capable of
North Sea Radio Orchestra - for being really good live"

3) Why did you decide to start your website? How’s it going?

"I started the website because I finally had enough bits and pieces to share - photos, films, music. It’s going well so far, though some visitors haven’t got their heads around the concept of updates."

4) Which famous people’s deaths upset you? Did you shed a tear when Captain Beefheart passed away, for example?

"I was sadder when Billy Mackenzie died in 1997. The Captain was obviously a great loss, but we’d had a while to get used to the idea of him not creating anymore. My immediate response was to play The Past Sure Is Tense at top volume."

5) What are your memories of the Simmerdown night at The White Swan in Pimlico?

"Bob and Roberta Smith abusing my electric piano. Swedish girls performing a song using two pine cones on a ribbon as a percussion instrument. Some bloke doing bird whistles while playing Blackbird on the guitar, then refusing to give me a lift with the aforementioned electric piano even though he had a van, meaning I had to take it home on the bus."

6) Was it a better or worse night for you than the Forest Fire sessions in Coldharbour Lane?

"Better, as shortly before taking the stage at the Sun & Doves I’d been informed that an old girlfriend had killed herself."

(Image above: Andrew taking a break from performing at The Sun & Doves in South London)

7) Does life seem good at the moment or are you a bitter man?

"I’m quite bitter, but that isn’t stopping me from enjoying life."

8) Do you have a hungry heart?

"This had better not be a Bruce Springsteen question."

9) Do you think you’ll always live in London?

"As long as the work’s here. I don’t fancy the idea of long commutes with their early starts."

(Above image: Andrew in the video for Trojan Horse by The Values)

10) What’s your favourite film and why?

"A tough question. I’ll say Metropolitan because it’s witty and charming and has a great score. On another day I might have said La science des rêves or Rushmore or The French Connection or All The President’s Men or L’année dernière á Marienbad or Serpico or Far From Heaven or Three Kings or Close Encounters Of The Third Kind or Dog Day Afternoon or Robinson In Space or In The Line Of Fire."

Kevin Eldon live in Crouch End

2011-06-06T00:04:00.000-07:00

Last week I went to Club Senseless at Downstairs at the King's Head, Crouch End. Since 1981 the venue has put on great variety nights - Julian Clary, John Hegley, Paul Merton, Alexei Sayle and many other greats have performed there.
Club Senseless is run by Ronnie Golden who has rounded up some very good musicians to play in the house band: Ronnie & The Rex. On the first friday of every month (apart from July and august) you can see Ronnie & co do their thang. There's a spot called "challenge the band" where you can request the band play any song in any style you like.
I've been a Kevin Eldon fan since the 1990's when he appeared on BBC2's Fist of Fun alongside Stewart Lee & Richard Herring. I was delighted to see him in such an intimate venue.

Kevin's short but sweet set was a delight from start to finish. We were treated to great material about catchphrases,impressions of The Fonze, splendid piss takes of actors who take themselves too serioulsy and bad comedians who have to rely on embaressing people in the front row of the audience in order to get cheap laughs. The talented Mr Eldon can also play the guitar and one of the many highlights of was when he perfectly re-created the sounds of records getting stuck on a scratch and CDs jumping. Who else could turn the sound of a scatched record into pure comedy gold?
I spoke to him for a few seconds during the interval. In 1997 he'd answered some questions about his Fist of Fun characters for my fanzine Frank. Apparently there is a possibility that Go Faster Stripe are going to bring out a DVD of the series and that Kevin, Richard and Stewart will record some commentaries and bonus material. Since 2002 there has been a website devoted to the show: fistoffun.net which has guides to each episode and plenty of treats.
Anyway, here is my very old interview with Kevin...

Harry Pye: Whenever you appear on telly, living rooms up and down the land are instantly filled with laughter. But, are you laughing along with us or are you an unhappy clown?
Kevin Eldon: "Oooh I'm happy - I often find myself shivering with contentment and then stomping one foot on the ground in front of me. Like a horse would."

Harry:I understand you're currently working on a new show called "Club Zarathustra" what's that about?
Kevin: "Hats."
Harry: Have you ever heard of a man called Michael Gira and his band The Swans?
Kevin:"No, but I'm willing to bet his voice is a keening contralto that soars effortlessly into falsetto, still retaining power and epression before swooping down to a low mellifuous hum which could almost be the soul of Gira. Or is he just not very good?"

(Above: A photo of Michael Gira who I interviewed for the same issue of Frank that Kevin's answers originaly appeared in.)
Harry: If I were to write about the comedy actor Gene Wilder I could say something like "I'm just Wilder about Gene" or say that he was "a Gene-ius". However, your name creates problems. How would you like this feature to be titled?
Kevin: "Just put..."Kevin Eldon - this man is obviously a cunt"
Harry: How happy were you with the pilot episode of "Cows"? Do you think it could have done with a bit of editing?
Kevin:"Not happy. You can't do Eddie Izzard lines properly through latex. Yes, it could have done with editing. Never took off really. Shame, but there you go."

Harry: And what about "London Shouting" with Alan Parker (Urban Warrior)?
Kevin: "The BBC comedy boss fool didn't listen to the fact that we all recognized that the (spoof) "Word" format wasn't perfect for the Alan Parker character, and that if Simon Munnery had been given a series it would've been fab cos that would've been changed from that, to something more Urban Warriory."
Harry: Have your skits on Fist of Fun recieved any response from "The Real" Rod Hull?
Kevin: "Yes. He puts on a false pair of lips and goes about insisting he's the real Kevin Eldon."

Harry: What are the chances of your hobby obsessed Simon Quinlank character getting his own half hour show?
Kevin: "It's not my hobby obsessed character. Rich and Stew write it and I am their comedy whore. They feel they've gone about as far as they could with Quinlank. They reckon it gets harder and harder to write and keep fresh. I can understand that. I think a one off half hour special could work but it's up to the boys."
Harry: Why weak lemon drink?
Kevin: "I think a lot of people's mums used to put that in their flasks when they went out on a school trip or to the Cub's Jamboree. Mine did anyway. It's such a bland an irritating drink I think Rich & Stew recognised the comedy potential in it. The twats."
Harry: Do you take your characters home with you?
Kevin:"No. It's a small flat."
Harry: Which products would you consider advertising on telly?
Kevin: "Bras and cat litter."
Harry: You're currently working with Chris Morris on Brass Eyeis it true that in real life he is alarmingly like the characters he plays on screen?
Kevin: "Chris Morris is a charming fellow. He reminds me of a fine and decent officer in the British Raj."
Harry: What thoughts would you like to leave us with?
Kevin: "Suffering is inherent in existence, but there needn't be such a thing as suffering needlessly for the sake of it. Problems are symptoms of happiness being looked for in the wrong places. Cup-a-soup isn't as bad as you think."

Q & A with Martin Fry of ABC

2011-06-02T14:01:00.000-07:00

I found my old Smash Hits sticker book recently. ABC sold more than 2 million copies of their Lexicon of Love album and they were proper pop stars. In case you can't read the tiny type it says: "Martin Fry born 9/3/58 in Manchester has an English Literature degree from Sheffield University, is careful planner and enthusiastic ABC propagandist. Set very hight standards and fulfilled them with the Radical Dance faction's series of finely crafted singles. Understands value of presentation and production."
(Last week Martin kindly answered a few questions via e-mail for me...)

The Rebel: What were the best things about growing up in Manchester? What places in Manchester brought you the most happiness?
Martin Fry: "Getting the bus into the city centre , daydreaming about Bowie, buying suedehead clothes from Ivor's and Justin's. Manchester is a big city. It makes you feel big.The twin cathedrals of Manchester.Old Trafford and the Hacienda are the places that brought me the most happiness."
The Rebel: What kind of a student were you? Did you enjoy being at college?
Martin: "I went to Sheffield University and enjoyed every minute of it. I lived on Hyde Park Flats and read William Blake.I thought I was the only person in Yorkshire who loved punk. I was probably wrong."
The Rebel:What do you remember about the night in 2007 when you performed in front of 15,000 people in the Hollywood Bowl?
Martin: "I remember there was a clock on stage and you were fined if you played for more than 60 minutes. It was a beautiful night.
Steve Coogan was there."
The Rebel: "I remember Frankie Goes To Hollywood being the biggest band in Britain.They had your mate Trevor Horn producing them and Paul Morely was writing their sleeve notes – do you remember being a bit jealous or were you a fan?
Martin: "Are you kidding? No never jealous. They sang on an ABC tune called SOS. I met them in Sarm West. I introduced Trevor Horn to Paul Morley all those many years ago."
(Above: Trevor and Martin)

The Rebel: What was Julien Temple like to work with? Is he one of the good guys? Did you like the documentary films he made about the Sex Pistols and Wilko Johnson?
Martin: "Julien Temple was brilliant. He’s a very patient man. He directed our movie Mantrap and the clip for Poison Arrow. I loved Dr. Feelgood as a kid.I just checked out Vintage Trouble and they remind me so much of them. I’ve bought Filth and the Fury a few times."
(Above: Mr Temple)

The Rebel:Which of you recent songs are you most pleased with? Are there any of your lyrics that make you swell with pride?
Martin: "See Through You and Love Is Strong."
The Rebel:Have you ever met Kevin Rowland? Did he seem a rival around the time of Come on Eileen or were you pop pals?
Martin: "When I got married I invited Kevin Rowland to my wedding. We were pop pals . He lived around the corner from me. Dexy’s were a stunning band."
The Rebel:There’s a photo of you with Glen from Heaven 17 on one side and Phil from the Human League and the other. Were they happy for you to go in the middle? Do you ever meet up with them just as mates?
Martin: "Steel City Tour December 2008. Glenn Phil and me. They played down each flank and I was the central target man."
The Rebel: Are you excited about playing at the Isle of Wight Festival next week? And does your life in general seem pretty good at the moment?
Martin: "The Isle of White show will be brilliant.We played a show on Sunday and are match fit and raring to go."

Q & A with Aleksandra Wojcik

2011-06-01T12:55:00.000-07:00

The Rebel: Can you talk about where you grew up in Poland? What are the best things about your home town?
Aleksandra Wojcik: “I grew up in Cracow (south Poland). For the first 10 years of my life I lived in Nowa Huta surrounded by Soviet architecture. Later my family and I moved to central Cracow- untouched by the war. I love my home and I miss it so much. Cracow is a very bohemian place, there is always something going on. I used to live next to the Jewish district. Place full of cafés, cultural centres, antique shops. I experienced different cultures. My parents as art conservators introduced to me the world of history and art. I love Cracow and everything about it. It is hard to describe the spirit of that place in just few words . It is a\really magical and different place. Time goes slower and I love the surreal spirit of Cracow during the night.”
The Rebel: How much does it cost to do the photography course you do here and has it been worth the money so far?
Aleksandra: “I am lucky, I’d started my course two years ago and I pay £3,200 a year. For sure you need more than that to survive in London and photography is very expensive. I choose the right place to study. I am really happy with my university and it's program. The course itself is editorial but students can work on fine art projects and teachers help us to develop our ideas. Is it worthy of this money? I am sure it is. At my campus we have very good facilities both in the traditional and digital darkroom. I know how expensive scanners, cameras, films, photographic paper are. Universities need money to provide this stuff for students. I don't mind paying the fee when I see that this money is being invested well.”
The Rebel: Are Londoners how you expected them to be? Has you experience of life here been mostly positive? Do you get fed up with the weather? Have you experienced any misogyny or racism since moving here?
Aleksandra: “I came to London to find out what I want from life. I was 23 and lost. Dreams which I dreamed in Cracow didn't come true. I was disappointed with the reality and with myself.I wanted to be independent so I had to leave Poland. Friend of my brother had a spare bed in her room in London so I asked her to keep it for me. In one week I packed my suitcase, bought a ticket and moved to London. First 2 years were really hard, I blamed the city but now I think it was more complicated. I was looking for my identity and I couldn't identify with Londoners and the Polish community either. Language barrier was a problem and I felt sad that I couldn't express myself, I felt lonely but today I think it was my choice. I worked a lot and didn't have a free time. That period of my life was a big lesson, but it made me stronger and less naïve. After 2 years I realised that life is not about earning money - Well, mine isn’t. I can't compare London to Cracow. Life in here is quicker and there is no time to make proper friendships. People live their lives and are less aware of others. It is unbelievable that every day you pass on the streets thousands lonely people.I feel a big difference in our cultures but in the art world borders seem to disappear. I've met both nice and horrible Londoners. I've never been a racist and I believe in individuals. Yes I experienced racism and misogyny and it hurt my feelings but I'd rather see it as a lack of education than hate itself. I quite like English weather, is always green and winter is not as cold as in Poland. In London you can do million things while is raining.”
The Rebel: When you were growing up were you taken to see photography exhibitions or were there many art books in the your house? Can you remember the first photo to really make an impact on you?
Aleksandra: “Yes I was always interested in exhibitions. Since I remember I never missed any of the big shows. We had lots of books about art and I used to spent all my pocket money on books and albums. The first photographs which I saw were in my family album I loved looking at them and I liked when my mum was telling me stories about people from those photographs.When I was growing up I was more interested in drawing, painting and theatre. I engaged with photography here in London.”
The Rebel: Who are the best photographers around at the moment? Do you rate the famous ones like Annie Leibovits?
Aleksandra: “I don't have just one master. I am inspired by many photographers. I always try to learn from the masters being at the same time aware of the contemporary art. I love Nadav Kanders landscapes , Antoine D'Aagata for his fine art touch in documentary photography. I don't believe there is one and the best photographer. They all use photography as a language to tell us different stories, they are all fascinated with different subjects. I respect Annie Leibovits, I would love to get to that point in my photography one day where she is at the moment. She is a very creative person and I admire her work for her huge control over her images.”
The Rebel: How many cameras do you own? Do you have a favourite?
Aleksandra: “I have 6 cameras but I only use 2 of them. I have 30 years old Practica PL3 . My mother bought this camera when she was my age. Zorky, which doesn't work, was my grandfathers camera. I love my medium format camera Mamiya RB 67 and most of the time I work with that kit. I prefer shooting on film and I use the digital equipment only if I need to work quick and in a low light conditions. I would love to get a large format camera one day.”
The Rebel: How many images have you made this year that you're really proud of?
Aleksandra: “It’s not how many you took or made it is more about the final edit, final story. This year was really productive and I completed 5 projects. I am proud of two. ''The sound of Emptiness'' was short-listed for Sony Professional Awards this year and was shown in Somerset House from 27 of April until 22 of May.”
The Rebel: What do you love most about photography?
Aleksandra: “I work with this medium in the same way I used to work with painting or drawings.I always observed and analysed and that is what I basically do with my photography. I come back to the same places over an over again and wait for the right moment for the right light. I photograph the same object over and over again, using my images as sketches for the final picture. Photography is my language, is a tool which helps me to share myself with others.”
The Rebel: Are you ambitious? What are your art dreams for the future?
Aleksandra: “As I said before I am less naïve nowadays. I want to keep going. My dream is to produce bodies of work which won't be just hidden in a drawer. I am ready to dedicate my life to it, I have done it already. I would love to continue my education and be able to afford the Masters degree. I appreciate that in this current climate continuing my education might not be that easy.”
The Rebel: What keeps you awake at night?
Aleksandra: “My ideas.”
The Rebel: When was the last time you felt really content or happy about life?
Aleksandra: “It was in December last year when I went back to Poland to complete my religion project. At this time I was reading a lot about Buddhism, Zen and pantheism. I was more aware and I was calmer. Photographing this project was like a balm for my soul. I felt that almost everything in my life was going the right direction. I also went to Cornwall in May. Staying in close relationship with nature makes me calm and happy, I feel like I belong to it.
The Rebel: Do you know any good jokes?
Aleksandra: “Sometimes I think that I am a big joke. I laugh a lot at myself.”

(Coming soon... An old Rebel magazine interview with Malcolm Hardee

2011-05-30T03:08:00.000-07:00

(Coming Soon...) review of At Last The 1981 show

2011-05-30T02:59:00.000-07:00

(Nicholas Craig)
(Arthur Smith)

Neal Brown

2011-05-26T12:15:00.000-07:00

Neal Brown recently reached part 8 of his "New Concise Reference Dictionary" and I was delighted that I got a mention. I respect Art Review's editor for allowing Mr Brown to have a whole page to himself each month. I think it's probably the best thing about the whole magazine. Below he predicts I will one day become director of Tate. I like the fact I also get a mention in both the definitions for "Heroism" and "Humility".
Neal writes those Thames & Hudson "World of Art" books and he also curates shows and events. He has written about art for most UK and many international art magazines, including frieze and Parkett. I was lucky that he agreed to write an essay about my work that co-incided with my second solo show at the Sartorial gallery in King's Cross.
THE ARTIST, HARRY PYE
By
Neal Brown

Harry Pye is a rotund, bald, male artist and writer who has humbly worked at the bookshop of Tate for endless years, and who occupies a place in the art world that might be described as marginalized. His corrective for this indignity – apart from general good grace and acceptance – is, quite sensibly, to place himself, fabulously, and with trusting optimism, in the centre of his work. After years of being a humble art world fanzine editor – the excellent Frank Magazine (1995-2000) – and interviewing famous personages, and making them even more famous, he has now claimed his place as a painter, and is producing fun, droll works, with a lot of singing colour and, most importantly, each picture starring a rotund, bald male in its centre.
Such Pye-centricity has proved to be a recipe for success; the paintings have now become a completely formed vision, and are doing very nicely. As Pye goes up in the world he is now meeting all the people going down, like me, and so I am very glad that I have always been nice to him, and which will always remain my policy, even when I start going up again in the world again, which will be soon, and then Pye and I can both go up together, unless one or the other of us starts going down, of course.
The self deprecating, anxious gag above – about the goings up and down in the art world, and being glad I have always been nice to Pye – is intended to be a representatively Harry Pye style gag, for the purposes of illustration only. (The stylistic context of Pye’s gag making is that of a glorious UK art writing tradition that includes Matthew Collings, Gilbert and George, Billy Childish, Mark McGowan and BANK). There can be lot of sad old pain behind this class of gag making, in which humour replaces sadness to become the crafty vehicle for kinds of truth telling that are usually proscribed – the time honoured subversions of the holy and court fools, carnival madness, and jester and trickster mischief making.
This is all apparent in over a decade of Pye’s Frank magazine, and in his other published writings, which reveal an irreverent, bittersweet sensibility, in which enthusiasm is mingled with a kind of fear; the fear that the philosophically alert (but sometimes sad), underdog has for the powerfully, often vulgarly rich and famous. Rather than attempt a definitive overview of Pye’s writings about the doings of the art world (Pye’s is an huge, many fronted, cumulative project), let this tiny excerpt from a regular series Pye has written for Epifanio online magazine (Epifanio 5, 2006) be considered – by me, not by Pye – representative of the conditions of Pye’s placement within his historical time. It describes a cockroach problem Pye had when he used to live above a restaurant, and his method of dealing with the problem when all other solutions failed;

The poison was very similar to brown acrylic paint. A small amount was put on each door. Apparently the cockroach is attracted to the smell, he rubs himself in it and eats some, goes home, dies, his friends and family then eat him, then they die. Nice.

This isn’t the Harry Pye we know and love, the cuddly, lovable Harry Pye. This is a steely eyed Pye; a pragmatically ruthless Pye who coexists with the other one. This is a quiet avenger of righteous retribution, at whose hands – again, this is my own opinion here, not Pye’s – the art world must, just like the cockroaches, suffer a formidable accounting. Surely, the crazy death system by which Pye’s cockroaches perished is more than similar to the prancings of the art world and its dim collectors, craven critics and insane academics – all engaged in a dark, twilight scurrying and cannibalising of each other’s second-hand ideas and blood plasma. Maybe this is unfair. (It’s certainly unfair to brown acrylic paint; the colour brown has slowly been enjoying a return to fashion with young painters – and means that in eighteen months from now designers will be making brown furniture and lamps again, and in three years brown cars will again be seen on the on the roads . . .)
Whatever. Let’s move on, to Pye’s paintings, which are the important thing. Pye’s paintings are accessible, fun, thoughtful and attractive. They revel in a benign, optimistic message making, based on the bedrock – spiritual touchstone etc – of the previously mentioned sad-old-pain, and whose unfashionable moral positivity points a way out of the repetitions of usual contemporary practice.
(Above: "Everybody Knows" 50 x 60cm 2007)
Pye says of Everybody Knows (2007) that, ‘It's about being in Stockwell tube station and seeing a black man who looked exactly like me except black. We are all the same and we are all each other, everyone knows it but we sometimes forget.’ This principle is repeated in his painting With The Muslims (2007) (co-painted with Rowland Smith). The title makes absurdist, parodic reference to a Beatles LP. But, more importantly, as Pye says, ‘It’s saying I am on the side of the Muslims, who are unfairly targeted by media and police. Within the paintings are symbolic representations of good things about to happen and good news about to be told.’ In this way – the way of good news, optimism and joy over experiential pain – there is a kind of evangelism in Pye’s work, which takes sad-old-pain, flings it into the air, and reorders it in a merry derangement.
Pye has an association with the Bart Wells Institute, where he curated the show Viva Picasso (and where, in other shows there, he was probably their most exhibited artist), and he has curated many shows elsewhere. The second show of his own work at Sartorial, the one after Me Me Me (2007), was Getting Better, (2009) which showed him at his collectivist best – Pye says he collaborates because he cannot paint very well, but as many painters cannot paint very well this cannot be the sole reason. A huge number of Pye’s paintings are collaborations, including with Geraldine Swayne, Billy Childish, Kes Richardson, and the already mentioned Rowland Smith, and such collaborations further increase Pye’s reach to his already wildly differing audience base.
The relationship of Pye and Childish may be revealing. In an interview with Pye, for the book Bart Wells Institute (2009), about shows that Luke Gottelier (and others) put on there, Gottelier says to Pye, ‘I’m into this thing of putting people in that don’t really go. Which is partly why you were there at the beginning. That’s why Billy Childish was there.’ Gottelier then explains that he would ask himself, when curating a show, ‘Who’s the one person [I] could put in who’s most unlikely in a contemporary art exhibition?’
As there were not one, but two ‘most unlikely’ persons that Gottelier and the Bart Wells Institute cleverly gave their attention to, this could mean lots of interesting things. Not least that, if they found two ‘most unlikely’ persons, that there may be other ‘most unlikely’ persons about, waiting patiently, elsewhere – currently excluded by curators of the more usual and conformist ‘contemporary art exhibition’ tendency. On this basis Pye should take his most ‘unlikely’ status as a great compliment – he is highly prominent amongst the ‘most unlikely’ artists, and we enjoy full confidence that his time is coming.

Three New Haiku Poems by John Hegley

2011-05-25T02:31:00.000-07:00

I've been a fan of John Hegley for years. A while back I got him to come to Tate Modern and give a talk about George Braque.
Here are three new works from John...

There is no dodo
and so we must do
more for fellow beasts

My dad blew winter
from his hands. He would cup them
and bring warmth in.

Underneath his hat the Frenchman keeps a pie. Why?
this way twill stay hot
Mr Hegley asked me to spread the news that: Artist Pam Brabants (who coloured in the drawing above) runs a Haiku site. Like him she is a Luton enthusiast..both the town and the team
"The drawing is of Monsieur Robinet. He is to be found adventuring further in a small book I have published with Donut Press. The other two haiku are for a show concerning family and animals which I hope to do in Edinbugh and Peebles and elsewhere."
Visit Pam's site: http://www.freewebs.com/pamelabrabants/
(Below: A feature on John taken from the lad's mag Loaded)
John told Phil Robinson from Loaded that he started off busking in the tube in Westminster outside the gents' toilet... "There used to be this horrendous smell and I used to bring joss sticks along and set them down on the floor beside me. Before I knew it people were giving me money. Sometime after that I did this television programme in East Germany - just after the wall came down - and someone said to me that I was the first busker they had ever seen there. Although it was for a television programme I busked it for real and I earned some money. It was when I decided to buy a cup of coffee that I realised I'd got something tangiable out of the whole process. It felt so real. This is for that."
John goes on to talk about the early days of the Comedy Store...
"At the beginning I was gonged off 5 times in a row. But I kept coming back. That showed I was hungry to do it, mainly because I kept coming back through the humiliation. The sixth time I was on stage I put my foot down and said "No!" That was the transforming moment, because it's hard to pull the performance back."

Live review of The Beat at The Half Moon in South London

2011-05-22T14:12:00.000-07:00

The Half Moon pub in Herne Hill (near Brixton) is a great little venue and last night I saw Ranking Roger and co perform a brilliant set there. Their only other London show this year is at The Grand in Clapham on Friday the 2nd of December so as you'd expect tickets for this show had sold out quite a while ago.
They began the set with "Rough Rider" - an Eddy Grant song made famous by Prince Buster. Ranking Roger sounded great and the place was packed with happy people. I was pleased to see a lot of women in the audience, maybe this is because of the fact Ranking Roger has kept slim, trim and youthful looking.
I was very impressed by all the musicians. Everett Morton is still an absolutely blinding drummer. (On the photo of the Smash Hits cover Everett is the one with the Umbrella next to the two guys who went off to be in The Fine Young Cannibals). Morton's playing on "Ranking Full Stop" was a particular high light. The keyboard player (Mickey Billingham)is a former member of Dexy's Midnight Runners who also worked with Ranking Roger in the band General Public. I didn't recognise the others. I have to say I had serious doubts about how good "The Beat" were going to be with so many original members missing but this new line-up is pretty tight. It was a pleasure to see Ranking Roger and Matthew Murphy (a.k.a. Ranking Junior)duet on their version of The Clash's Rock The Cashbah. They work well together and bringing him on board was a wise move.
"Mirror In The Bathroom", "Hands Off She's Mine", "Tears of a Clown" and all the other classic hits sounded great - so much better than I was expecting. Respect is due.
(Above: My signed copy of Dance Craze. Below: Classic cover star.)

Q & A with Emma Coleman

2011-05-07T11:47:00.000-07:00

(Above image: "Model Navy" painted by Emma Coleman)
The Rebel: How are things in Emma world at the moment? Are you enjoying being a mum and living by the sea?
Emma: "I am thanks! We're having a great time down by the sea although we really miss London and might move back there soon. It's a constant dilemma – in London you often wish for a different life by the sea or in the country and yet now I'm down here I long for dirty, smelly, lovely London. Never satisfied. It does feel like a permanent holiday now the sun is shining, though it was a bit bleak in Winter, a bit like living in the last town before you fall off the flat earth. I do love being a mum and it is the most incredible feeling that you have somehow helped to bring these mini human beings into existence but motherhood can also plunge you to the depths of despair, when you're exhausted beyond belief and you never realised that so much could be demanded in so short a space of time by someone so little. It's an interesting roller coaster ride let's say; the fresh sea air imparts a sense of optimism and that helps."
The Rebel: What do you think about the cuts in education? Did you get a grant? Was your art school education worth the money it cost?
Emma: "I did get a grant for my degree course and Laura Ashley paid for my foundation course in return for a painting. My art school education was priceless, it was one of the best times of my life. I had dropped out of two degree courses beforehand, Psychology and then Hotel Management and I was feeling a bit of a failure until art college. I had to do a bit of wrangling to get my grant transferred. I think the cuts are appalling. Everyone should be entitled to a free education."
The Rebel: What were the highpoints of your life as a student?
Emma: "The three-year-long delusion that as soon as my fine art degree ended I would immediately become a successful artist making a lot of money with critical acclaim. A rather enjoyable delusion while it lasted. Making such good friends. Putting on shows with said friends was a highlight as were the many nights spent at Mike's bar across the road from college." The Rebel: Were you obsessive about drawing as a child? When did it become an important part of what you're about?
Emma: "I was always obsessively drawing as a child, mainly small booklets of advertisements for products like socks that would never wear out, or furniture spray that meant you would never have to dust again. I always thought I would go into advertising when I was younger. Then I moved on to drawing cartoons and even did a short course in cartooning. Then I went to art college and spent a lot of time trying to deny the cartoonist in me. Perhaps I'll be ready to let that side out sometime soon. Drawing has always been incredibly important to me."
(Above image: "Get Me Heels" drawn by Emma Coleman)
The Rebel: Who were the early influences on the young Emma Coleman? Which artists impressed you most?
Emma: "How young? Very early on – whoever did those Ant and Bee books. Later Mordillo and later still, Yves Klein – then Matisse and Rodin. Then I went to art college and an entire world of artists to be impressed with opened up before me. I discovered Matthew Barney's Cremaster Cycle."
The Rebel: Do you ever have music on while you are doing art things? What would be your desert island discs?
Emma: "Yes but the music has to be either lyricless or be a song I know so well that I don't have to concentrate on hearing the words, otherwise I can't focus on the painting in hand. I usually listen to a lot of Sinatra, Ella Fitzgerald, Julie London, Junior Walker or any kind of music that makes you feel like you should have a gin and tonic in your hand and you're at a swell party on a rooftop in New York, which is a state of mind I like for doing art stuff. Desert Island Discs would include It Ain't Necessarily So- Molly Johnson, Personal Jesus-Johnny Cash, Living on the Ceiling-Blancmange, Fell in Love With a Girl-The White Stripes, Flower Duet from Lakme - Delibes, Blues Hand Me Down-Vintage Trouble, Last Night a DJ Saved My Life."
(Above image: "Slim Face" by Emma Coleman)
The Rebel: What art projects are you working on at the moment?
Emma: "I'm working on a commission from my 'Kiss' portrait idea. The idea comes from ladies who sit at their dressing tables to put on lipstick and blot their lips on a tissue. The tissue is tossed into the wastepaper basket but I 'retrieve' the tissue and paint the lip-print, which I suppose is as individual as a thumb print, as a portrait of that person."
The Rebel: When it comes to your own work do you have any big favourites or do you love them all?
Emma: "I like my series of skin paintings the best. Painting a surface of hugely magnified skin and folds. I sort of left the idea behind a while ago but now I'm going to revisit it. They were by far the most difficult paintings to do for some reason. I tried to paint in a stream of consciousness style across a canvas surface. I'm using this idea now to make some art cushions that will hang on the wall, in an attempt to reconcile my desire to nest and make a home with my desire to make art."
The Rebel: What are you going to do after you've answered these questions?Emma: "We're going up to Little Switzerland, a place in the cliffs on the Kent coast, to have a cup of tea and admire the channel views."
The Rebel: Do you have any favourite art books, biographies or artistic quotes that mean a lot to you?
Emma: "Art Since 1960 by Michael Archer. Night Studio, A Memoir of Philip Guston written by his daughter. I've been pondering that quote about the pram in the hallway being the enemy of art..."
The Rebel: Which makes you happier dancing or swimming?
Emma: "Definitely dancing. In my head I'm Uma Thurman twisting in a perfect white shirt at Jack Rabbit Slim's twist contest. Of course the truth is uglier."
The Rebel: What are your ambitions?
Emma: "Quite simple and low key at the moment with two small children - to find time to make more art."
(Above: Emma's painting from the 100 Mothers Show

Q & A with Lloyd Durling

2011-05-03T10:46:00.001-07:00

1) Have you always liked your name Lloyd? Do you have any favourite Lloyds such as Lloyd Cole?
Lloyd: "Yes I'm very happy with my name. I like that it is associated in English mostly as a surname, and in welsh it's a christian name which means grey-haired or sacred. Lloyd Bridges was a very good actor."

2) Do you agree with this statement: "Show me a boy who was happy at school and I will show you a liar, a cheat or a bully".
"I was very happy at school.....some of the nicest moments of my childhood. little responsibility. I'd be a terrible bully."

3) What were the most positive aspects of your art education?
"Art education was a tough time for me. art excited me but i found it troublesome too. by the time I was 21 I was relieved to be out of education but, ready to move to London to be an artist."

4) Where are you based now? Where have you been travelling?
"I moved to London in 2001, then I went to Berlin for a couple of years. I am now based back in London. I have a strong passion for travelling.... all forms. at the moment I love walking and have just finished a solo walk coast to coast from Padstow to Fowey in Cornwall."

5) Which artists were an inspiration to you in your youth?
"Picasso and Bosch were of particular interest. I loved the films of Claude Chabrol with their dark overtones."

6) Do you have any favourite art books?
"I like the book 'On Drawing', By John Berger. He makes some of the finest insights into the very nature of markmaking."

7) What is your idea of beauty in nature?
"Stephane Audran."
8) What are you working on at the moment?
"I have just had a show at Chapter in Cardiff of new works. I am working on a series of new semi-abstract drawings partially derived from carnivorous plants."

9) Which of your artworks are you most proud of?
"The works that I completed in Berlin between 2008-2009. I had a lot of isolation."

10) What song would you like played at your funeral?
"'There's a place in Hell for me and my friends', by Morrissey."

11) To what extent are you a bad man?
"Me and a friend set some woods partially on fire when we were 14 years old."

12) Which gives you the most happiness - swimming or dancing?
"When I get wet I hate drying myself..... and I'm quite inhibited when it comes to dancing. but i would go for dancing."

13) Why do you make art?
"Because of Giotto."

Humphrey Ocean

2011-04-30T11:56:00.000-07:00
Last month Marcus Harvey asked me to interview a painter for Turps Banana magazine. I was delighted to spend an afternoon with Humphrey Ocean.
Here are his answers to my first three questions - the rest will appear in the July issue of Turps.

Harry: Am I right in thinking that the man how taught you life drawing at art school was Ian Dury?

Humphrey: "Yes. He was new and we were new. He told us: "You're just playing at being artists. You're just playing at life drawing." But we did these terrific life classes, two of them, that he set up. We had to get the line right. We weren't allowed to shade in until we got each line right and rather than four hours the classes went on for four days. So I did learn about what proportion meant and in a practical way how it applied to art. Those were the two life drawings I did the whole time I was at art school. I still have them."

Harry: Actors have a saying: "Enjoy the praise but don't believe it." Can you talk to me a little bit about advice for young painters just leaving college? I want to know if you think getting money and praise too early on can be damaging?

Humphrey: "I enjoy the praise and I do believe it. I don't quite get enough of it. I remember at the age of eight or nine a drawing of mine, of a tree in black with white highlights on the branches for snow, was put up on the wall. Seeing the other children looking at it gave me a boost. When I went to art school nobody sold anything at their diploma show. We found it profoundly depressing and it put some people off. I actually mistrust the coyness with which artists approach the subject of money. It's probably gone the other way now but you need money to live and paint another picture. It's a separate thing, from my way of thinking, from making. I'm certainly not thinking of money when I'm working."

Harry: Who were the painters who made you want to paint? Do you still love them?

Humphrey: "Van Gogh and my mum (an amateur painter who loved Schmidt-Rottluff and Pissarro) and yes I do. An artist I also like is Josef Albers. He is the link in American art. Somehow all the lines intersect at Albers. Well before his trademark squares he was inventive in another way, full of design and in his woodcuts, linocuts and teaching at Black Mountain College he adapted European thinking to the new world. America took over art in the second half of the 20th century and of course it was where we looked. There is a romantic idea that Pollock was a pure thunderbolt out of the blue but of course he started out doing Picasso type pictures before he really got going with Newman and everybody, rejecting the fearful weight of Europe. Albers continued like a secret agent but only really came upon his squares and his colour when he was sixty. I like Clyfford Still, but although I was aware of his work earlier it only began to make sense for me when I walked into his rooms at San Francisco Museum of Modern Art in 1998 and saw them on American earth which they are very tied to with their hand ground colour. Goodness he was intolerant, and I love him for it. But influence works at right angles to the number you first thought of. What makes me want to paint are more likely to be unaccountable things, a fence or a night sky."
One:

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Q & A with Jeremy Akerman (rough edit)

2011-04-27T11:28:00.000-07:00

The Rebel: We last met at the Marmite Prize event that took part in The Nunnery. Did you have mixed feelings about entering the Marmite Prize? Do you often enter competitions etc?
"I was chuffed about getting selected, I think it is very random to get selected, I cant figure their logic forwhat they chose as a whole, its like shopping at Sainsburys, a bit this, bit of the other....;...I had some faith in my painting because people had commented on it quite instinctively and were drawn to it."

The Rebel: Tell me about the painting that is in the Marmite Prize - why did you select that particular work and how did it come about and how long did it take to make?
"I made it because Suzie commissioned me to paint that hillside, her Mum bought a plot of land had built a summer house there and turned the hillside into a beautiful garden of trees and a farm. When i painted it , it had all gone to ruin as it had been requisiioned by the local city government to be develope;, she was forced to sell up and this bit of her world was bulldozed, the house is gone. I have another painting of the hillside without the house, only piles of orange earth instead of the orange roof.
I wish that I was commissioned to paint all the time, that would solve a lot of problems for me."

The Rebel: What do you think of this recent quote from Laurie Anderson:
"Artists are just niche-ing their thing and then putting up their billboards saying - look at me."
Do you think artists all say "Look at Me" or are there a few around saying "Look at this"?
"It's just part of that poliferation of the artlike looking things industry led by Tate Modern.
I am optomistic lately about a shift in attitude. Recently I went to see Paul O'Kane and Tina Hague speak about their work at 'Lo and Behold' gallery; the gallery run monthly open discussions or crits around artists work. The following month they asked me along with Gary Colclough so I put my work up and had a great evening. I was suprised by how real and engaged the conversation was. I was talking to Tamsin Clark from Studio Voltaire about this and she said she'd been to artist's talks at Ryan Gander's place with David Batchelor (where someone had refered to David's work as 'womble art', which is funny but also OK that stupid things can be voiced and answered). Recently my friend Chad McCail held an open crit/feedback session for his new work 'systemic' at Laurent Delaye's gallery, which was brave of him. But the work gets studied and people get right into, get a lot more out of it rather than just looking at things which they do like or don't like for some irrational or momentary reason they don't even remember 2 seconds later. The other week Eileen Daly and I went up to Liverpool to interview Paul Rooney about his writing which I think is genius stuff, the effort has to be made but it is so rewarding too...so there is lots of people looking beyond their own blind desire for recognition...I often meet Andy Graves, who is great painter, and his line in amongst our chat is 'what about this?' as he pulls out yet another brilliant painting. I can't imagine not having these conversations and that artists discussions are becoming more widespread feels like a relief in this two tier celebrity/outcast culture."
The Rebel: What else have you been working on this year? Is your painting going well?
"I've been working on photo collages, they're very simple things and very aggressive cut and paste literally I have some new paintings, interiors again, this time a very grand church interior which I am hopeful about plus some figure paintings, heads really which I am nervous about."
The Rebel: Do you like this quote by Billy Wilder "If you're going to tell the truth at least make it funny because if you don't they'll hate your guts"
"I love Billy Wilder movies, Ace in the Hole with Kirk Douglas is an old favourite, S and M circus roll into shot in one scene. The film is about a newspaper man (Douglas) and a trapped miner whose plight has been exploited by the 'hack' so he's become a national celebrity, like the Chilean miners story only Wilder's miner dies.....I guess with the truth people are going to hate you anyway, I mean if you are talking about 'the truth', if you could ever deliver something like that......"
The Rebel: What was the last painting (or exhibition) you saw that you really made a connection with?
"I saw Herzog's Cave of Dreams the other night and it was really great. I think they are more drawings than paintings, the film and archeologists insist on calling them paintings but they are so graphic, much more like language. Theyre, so it's like that thing one does as a child when with your eyes closed you trace around shapes in your head. There are shapes for animals that are set shapes and there are set movements in the hand and wrist which perfectly tune into making that line that describes them.
There is one rock with 20-30 roundish reddish marks made on it with the heel of someones hand rubbed in a circula rmotion.it is staggering obscure and as modern as anything I can think of, it is utterly dumb and uncompromising, thats far more mind blowing than than the pictures of the animals which in many respects are more well behaved, or can be managed through language; highly self-reflexive and contextually aware and all that curatorial justification shit explanation card stuff we have to put up with."
The Rebel: Where did you study - which tutors were most helpful to you?
"UG.Goldsmiths (Sam Fisher, Andrea Fisher, Jean Fisher, Carl Plackman, Ferris Newton, Elma Thubron, Michael Craig Martin) PG. Jan Van Eyck Academy: (Andrea Fisher, Willem Oorebeek, Yehuda Saffron, Jon Thompson)"

An A to Z of Simon Munnery

2011-04-27T07:43:00.000-07:00
Last week I meet up with the clown prince of comedy in the Z-bar cafe in Stoke Newington. His answers to my questions have been put in alphabetic order...

A is for Andy Kaufman
Simon: "It was Mel Brimfield's idea to recreate various forms of performance art. Andy Kaufman wrestling women was part of her project and she asked me to do it which I did. The speech which is there to irritate and wind up women was entirely my own and so I haven't used any of his jokes. I had a stockpile of anti-women material that I was able to deploy."

B is for Billy Buckethead
"Billy Buckethead is resting. I haven't performed (with a bucket over my head) for a while. I did a radio show interview in Australia recently and the host said - "my parents went to see your show where you had a bucket on your head and they've haven't been to a comedy night since." So I apologised. I came up with ten minutes of material. The first line was "Good evening, nice to be here... I imagine". In Edinburgh it went down fine but in Birmingham I had the worst heckling I've ever endured. Even afterwards in the bar a man came up to me, blocked my path and said, "You're shit!" I said nothing. He said "Aren't you going to react then?" I decided not to."
C is for Coffee
Simon: "On tour we heard that Billy Connolly famously never drinks coffee apart from when he's about to go on stage. (In which case) he'll have a double expresso and then go off like a rocket. I'd been on tour with Jason Freedman for 2 weeks. We were exhausted, just knackered. We were backstage in a place in Preston and there was a big jar of coffee in front of us. We decided to have the lot and drank it down like soup. It worked. We went off like rockets but the comedown was just awful. It was a sunday night in Preston. Everything was closed we were in rooms that just had a lightbulb, a sink and a bed. We'd read our books and there was just nothing left to say to each other. We just lay on our beds in these seperate rooms looking up at the ceiling wishing we could die. It was awful."
The Rebel: I prefer tea to coffee.
Simon: "Me too."
D is for Drawing
The Rebel: Do you like drawing. Could you do a self portrait for me?
Simon: "I'll have a go."
E is for Edinburgh
Simon: "I'm currently working on ideas for my next show at Edinburgh. It's going to be called "Hats Off For The 101ers". I'm sure you know about the R101 airship disaster - in 1930 the biggest airship of it's time crashed on it's maiden flight. Well, I'm going to be doing a one man musical about that. All the songs will be done in the style of Joe Strummers pre Clash band the 101ers."
F is for The Fall
The Rebel: Are The Fall as good now as they once were?
Simon: "They are as good now but not as good as they will be. I think Mark E. Smith is a national treasure. He's brilliant with his phrases. Fragments of Fall lyrics are always popping in my head... Out of England I dream of its green marine."
G is for God & Jesus
The Rebel: When I first saw you perform you were part of a double act called God and Jesus.
Simon: "I played God."
The Rebel: I can remember a lot of your material from that act. I thought it was fantastic. Have many of the lines remained in your head?
Simon: "At school I used to stand on a chair and stab myself repeatidly in the genitials with a compas - even then I was an entertainer. I had my own gang - it was very difficult to join, you had to wet yourself in class. I joined three times."
The Rebel: I think all the God & Jesus material is comedy gold. Is it on You Tube or anything?
Simon:"I have a DVD called Hello and there are a few clips of God & Jesus going down a storm in the extras section. God & Jesus either went down very well or they would die very badly."
H is for Health
The Rebel: How is your health these days?
Simon: "Oh it's ok, he said smoking another fag. no, it's ok - touch wood."
I is for Ideas
The Rebel: Where do your ideas come from?
Simon: "Mysterious sources... things just occur - it's inexplicaple. I have to force myself to write. I guess it's a kind of a trawling process."
J is for Jealousy
Simon: "It's not a very helpful emotion is it? There's no comedian I'm jealous of there's just lots of people like John Hegley and Dan Kitson that I admire a lot. Sometimes I wish I was richer but thats a universal state. In absolute terms it doesn't matter as long as you can keep the wolves from your door."
K is for Keith Allen
Simon: "Keith heckled me when I was performing at Up The Creek once. I responded by putting him down for doing ads in which he played the part of a tooth fairy. I never saw him do stand-up. I heard about him going to Northern working men's clubs dressed just in his pants and trying to get off with blokes in the audience."
The Rebel: Are you a Keith fan?
Simon: "Oh yes. I like all people called Keith."
L is for London Shouting
Simon: I did a pilot for a TV series called London shouting with Alan Parker the urban warrior. I was very ill with a cold and the producers encouraged me to make the show a spoof of The Word. I wasn't very happy with it but it got nominated for a British Comedy Award. I thought being nominated would mean they'd give me a series but they didn't."

M is for Malcolm Hardee
Simon: "Malcolm helped me and got me lots of gigs. I spent a lot of time at his house. I remember one night in the Tunnel club I went to the toilet and overheard two blokes talking about him. One said, "It's been a good night hasn't it?" and the other guy said, "Yeah, and if Malcolm gets his bollocks out it will be a great night." And it was."
N is for Names.
The Rebel: Do you like your name?
Simon: "Simon is all right. Harry Pye is a great name."
The Rebel: What is your middle name?
Simon: "Douglas."
The Rebel: Douglas Munnery sounds good. It sounds like a name a writer would have.
O is for Roy Orbison
The Rebel: He was known to his fans as The Big O.
Simon: "Yes. There's a village called Ornley and whenever I used to drive there I'd sing "Only in Ornley" to the tune of "Only The Lonely."
P is for Proverbs
The Rebel: You quoted from William Blake in your Attention Scum series. Do you like his Proverbs of Heaven and Hell? Do you have a favourite proverb?
Simon: "The cut worm forgives the plough is a good one. The road of excess leads to the palace of wisdom is a famous one. The thing is that roads lead both ways so it leads away from the palace of wisdom too. There are other ways to get there - the helicopter of inherited wealth for example."
The Rebel: Blake believed that the tygers of wrath were wiser than the horses of instruction. Are you a horse or a tyger?
Simon: "As the years have passed I have become more and more like a horse of instruction... bursts of tyger wrath are quite rare now."
Q is for Queen
Simon: "My next door neighbour and I make little films and I dress up as the queen. I've written a play about Queen Elizabeth the first but it's on the back burner at the moment."
R is for Red
Simon: "I recently had a 28 hour long flight and I watched the Bruce Willis film Red. Red stands for Retired & Extreamly Dangerous."
The Rebel: I saw it being reviewed on Breakfast TV and they said it was a waste of talent.
Simon: "Well it was. And a waste of my time."

S is for Stoke Newington
The Rebel: You love Stoke Newington don't you?
Simon: "Well, I lived there for 15 years."
The Rebel: What do you like most about Stoke Newington?
Simon: "Abney Park Cemetry. It's crowded yet quiet."
T is for Tea
Simon: "Yes please: Milk, two sugars, like a roofer."

U is for Urban Warrior
Simon: "Alan Parker Urban Warrior was a character I used to do, and shall do again when it's been left fallow long enough."
V is for Vampires
The Rebel: Do you like Vampires?
Simon: "Yes. My teeth are a bit like a vampire's...look."
The Rebel: Oh yeah. Ken Dodd had his comedy buck teeth insured. Will you be insuring your vampire like teeth?
Simon: "No. Others should insure against them. Ruhahaha"

W is for Wall and Piece
The Rebel: You're friends with Banksy and you wrote some of the text of his best selling Wall and Peace book. Do you know him well?
Simon: "A man who claimed to be Bansky came up to me after a gig and asked if I minded him spraying some of my lyrics onto walls. I can't remember what he looked like but we did meet up in Stoke Newington once. It's not great when people come up to you right after a show just because I can't relax until my props are back in their box. Once in Aspen comedy Festival a man came up and said how much he loved the show and I said: "Not now. I'm tidying up." It tuned out the guy I turned away was The Simpsons creator Mat Groening."
The Rebel: "Doh!"
X is for Xylophone
Simon: "Unusually for primates my rib cage is xylophonic in structure. I often strum myself in tense situations."
Y is for Youth
< Simon: "A wise man once told me 'Use your leisure well, for the mind grows still long before the body."
b>Z is for Zoo
The Rebel: Which animal do you make a beeline for when you go to the Zoo?
Simon: "Giraffes, Giraffes you're having a laugh, your neck is so long you look like a graph."

The Rebel: So you'd make a beeline to the giraffes?
Simon: Yes. I also like monkeys ... and bees. I'd make a monkey line to the bees if it wasn't illegal."

Q & A with Rick Wakeman

2011-04-05T14:12:00.000-07:00

The amazingly talented keyboard player Rick Wakeman was on This Is Your Life once and Micheal Aspel quipped: "You'd had three heart attacks, two marriages and lost £10 million by your early thirties ... but then things got better"
You can read his biography and find out about the 50 or so records he's been involved with by visiting his "communications centre": http://www.rwcc.com/
I remember one afternoon in the early 90s I was feeling really low and I turned on the TV and saw a chat show where the guests were Wakeman and Eric Sykes. I remember watching them clown about for a few minutes and then cheering up and deciding that life wasn't so bad after all.

The Rebel: Were you still a fan of Viv Stanshall after you worked with him.
Rick Wakeman: "Absolutely... the man was a poetic genius with all the trappings of depression that goes with such talent. I often wonder what else he may have achieved had he lived. He's left loads of amazing memories though and that's good enough for me."

(Above: The Bonzos - Viv is 2nd from right)
Do you have a favourite lyric by him or a favourite Bonzo record?
"Strangely enough, Jollity Farm is my favourite, which of course is not a Bonzo composition . I love Canyons of your Mind and Trouser Press... My kind of humour!"

I've always loved the David Bowie song Absolute Beginners. Can you tell me a bit about the session? Which bits did you do and which bits did Steve Nieve do?
"I played the classical paino/ Rachmaninoff type stuff. I did all this long after the track was finished. David invited me on board to add these touches and we spent a very pleasant few hours reminiscing..."

(Above Steve Nieve photographed by Keith Morris in 86)
Steve Nieve recorded a cover version of Russians by Sting. I read that you also admired this track. What is it about this song that touches you?
"With apologies to Sting, I'm not a great fan of The Police but I do admire what they do and Sting's writing, even though it is too Jazzy for my taste. When I first heard Blue Turtles and The Russians track, I fell in love with the song. Beautifully constructed and beautifully done. I've not heard the cover version so I can't comment on that."

Can you remember much about recording Going Down by Lou Reed? That first solo record of his is quite curious. Did you get the feeling it would be a hit or that there was much of an audience for Lou waiting in the wings? How did Lou Reed come across?
"I never met him. He stayed in the control room and spoke through the headphones. I finished what he asked me to do and left!"

Are there any Yes songs that have the power to move you to tears?
"Awaken... the live version from Boston if I recall. Another step on from the studio version."

I really like the you tube footage of you and David Patton performing Eleanor Rigby and I really like the footage of you playing Life on Mars. When you perform a piece of music like that what goes through your head - are you like a method actor trying to bring up painful emotions or try in an attempt to connect with the story?
"I never plan anything as regards what is going on in my head. I close my eyes and go where the music takes me... And for the record...I am one of the few who hate Youtube."

When do you think Pink Floyd were at their most interesting? Which of their records are you most likely to play?
"Early stuff when Syd was around.GG"

McCartney had help from friends like George Martin but do you think (on the whole) a songwriter needs to train classically to be any good
"No , not at all. Training just helps somewhat I suppose as your imagination is limited by your knowledge."

Do you ever cross paths with the artist formally known as Cat Stevens? Were you interested when he changed his name to Yusuf Islam and do you have many muslim friends?
"I had a chat with Yusaf a few years back and it was lovely to meet up... I was pleased that he found his personal path in life as indeed I am with anybody who finds their own pathway as regards a faith... I have no idea if I have many Muslim friends to be honest as quite simply when I meet people I don't ask them what faith they are. I merit friendship on the person, not their faith."

What's your favourite Eric Sykes sketch / what do you like most about him?
"Erik is a comedic genius and I'm proud to call him a great friend... my favourite sketch is probably V.E Day when he took over the pub... but there are so many genius moments in all of Erik's work."

What are you working on now?
"I have a radio production company that produces shows for Ireland and America. I have a spot on Watchdog coming up in the new series. I am working on two short films. I have two albums to finish by the end of the year and a third book in the Grumpy series. I have concerts of all kinds, solo, band, orchestral scattered throughout the year and loads of stuff as patron to the charities I support... no free days in the Wakeman camp."

Q & A with Tom Pounder

2011-03-17T00:27:00.000-07:00

(Above: "Balenciaga Bullseye Liquidity Annuciation" by Tom Pounder)

The Rebel: What is the Tom Pounder story? When and where were you born and what have you been doing with your life?
Tom: "I was born in 1978 in Lambeth. I did a Fine Art degree a decade ago but completely lost faith in the mechanics of contemporary art. I was baffled by the lack of parameters and when I was a student it was hard to work out if I was actually learning anything - at least I wasn't paying tuition fees back then! I've been working as a graphic designer since so I guess I kept using my eyes, looking at colours and composition and images and so on, and I've always kept a website (www.jumbointernational.org) as well as self-publishing some books. A couple of years ago I decided I didn't need to worry about 'defining my practice' and just started painting. In particular I wanted to get away from the computer screen."

What do you think of Leonard Cohen's lyrics for the song Suzanne? Are you a bit like Leonard, do you tend to fall for women who you know are a bit barmy?
"I like Leonard Cohen, but I rarely to listen to his lyrics. Actually that's true for all music. Barmy like Timmy Mallett? I don't like barmy people in general."

(Above: "Gulf War I" by Tom Pounder)
How sincere are your paintings named after the Gulf wars and Mozambique? Are you a very sincere person?
"I think we're all striving to find meaning in some way or another and maybe it's harder these days for an artist to be earnest or totally sincere, I don't know. I like to think of myself as a serious artist but I like jokes too. As for the paintings you're referring to, I wanted to approach very real and important subjects through abstraction: 'Gulf War I' was in fact my first ever abstract painting. I wanted to see if I could establish on the canvas the smallest ounce of grativas of the chosen topics, almost out of nothing. I find it quite interesting that there's not an expert available on the planet who can tell me categorically if I was successful or not. Also I actually went to Mozambique and then painted the picture a week later, so really no one can challenge my authority on that subject. However, I have never been to Ukraine. Either way I like the results."

(Above: Gulf War II)

Are there any artists that you're a bit jealous of and are there any famous artists you'd like to be great mates with?
"I guess I'm jealous of artists that have had consistently great and evolving careers that have also rewarded them financially. So someone like Gerhard Richter might be an example. The achievements of The Beatles never cease to astonish me and I wish I could have been there to witness some of that, maybe as like a cerebral figure on the scene like Barry Miles at Indica. Also George Harrison was 27 when they split up. 27! As for imaginary friends I recently saw a documentary about the composer Philip Glass and thought there's a great example of a man and an artist. He seemed like one of the good guys."

(Above: Tom's ex flatmate Rory)
I went to your house once and was surprised how many Roy Kinnear videos you had knocking around. Are you still friends with Rory Kinnear and have you been keeping an eye on his work?
"I'm basically a philistine when it comes to theatre but it so happens that my best friend since I was 3 is the finest stage actor of a generation. I cried when I saw Hamlet, not because of the performance - that would make me an insufferable cunt - but because he's my friend and I was proud. He's very talented but I want him to do movies so I can be in his entourage. I don't live with him anymore though - he left me for a woman."

Can you tell me about how long it takes to make your work? Talk me through how 'Balenciaga Bullseye Liquidity Annuciation' came about?
"I think the visual ideas emerge from my subconscious from a typical mix of art history, news stories, Wikipedia articles and high and low cultural experiences. 'Balenciaga Bullseye Liquidity Annuciation' followed an excellent fortnight in my life when I was lucky enough to visit the city of Florence and Disneyland Paris in quick succession. So I've tried to capture the contradiction but also the plain unadulterated joy of those experiences. The planning and execution of a painting is never usually longer than a couple of days. I title them afterwards but there's always themes and phrases floating around that probably affected the first stage anyway."

Are there any exhibitions or art books you've been blown away by this year?
"Visiting San Marco in Florence was extraordinary. I ordered the catalogue for the MoMA show Matisse: Radical Invention and this looks like it was remarkable."

(Above: Publicity for the 2010 Matisse at Moma show)

What are your views on Mark E. Smith? Does he still have a few good albums left in him? Did his lyrics inspire you at all?
"I like The Fall a lot but like I say I don't pay much attention to the words I just like the tunes (although The Classical makes me laugh). It's funny I have this nightmare scenario in my head where I have to hold myself accountable to Mark E Smith because I think of him as the model artist with integrity. Maybe like the MES Show Trials for Crimes Against Culture. I'd probably nervously tell him about the time I compiled a playlist called '10 Fall Bangers It's OK To Play In A 21st Century Advertising Agency' before he told me to fuck off."

How much are your artworks worth? Have you sold any yet?
"I sold a print of 'Boob Infinity' to a lawyer once for £120 but since then I keep giving my pictures away to friends. I need to find my market."

(Above: "Boob Infinity")

What's your studio like? Do you share?
"I've got a partitioned studio in a shared space, so it's my own but not entirely private. Really I'd like to play music loud and smoke but I can't do either. Ashley Bickerton described his house in Bali as 'a purposefully built total environment [that] can lead to complete solipsistic immersion' - this is the dream I think most artists pursue."

Do you tend to make your work when you're down?
"I find it hard to make anything unless I'm somewhere near upbeat. If I'm down I'd rather stay in bed or just watch tv."

What do you want your art work to do?
"I think I want to try and make beautiful objects. I suppose I'm trying to resolve the dispute between an anal retentive tendency to draws squares and neat mathematical diagrams and the expulsive urge to puke my fucking guts up (and shit myself). I guess I'd like to make people laugh and cry."

What aspects of your life are you currently most pleased about?
"I'm really pleased to be healthy and living in an interesting part of a great city. The food available in supermarkets is a constant source of wonder. Flat screen TVs also blow me away and Google Image Search."

www.jumbointernational.org

Q & A with Spencer Cobrin

2011-03-14T09:53:00.000-07:00

Spencer was Morrissey's drummer from 1991 till 1998 and took part in the legendary tours for albums such as Your Arsenal and Kill Uncle. He co-wrote Wide To Recieve which featured on the recently re-released Maladjusted album. Spencer has composed scores to independent films such as the award winning My Child: Mothers of War. And he has also collaborated with Australian singer/lyricist Scott Matthew in a project called Eva Snow.
The Rebel: What are you up to these days? How do you pay the rent?
Spencer: “I'm still involved in the music business and wear several hats. I do A&R signing artists to a music agency in Brooklyn, NY and continue to compose music for commercial and art projects. Also some scoring the most recent being 'Roger's Number' a short film starring Krista Ayne (Penthouse). Last winter Scott Matthew (my old partner in crime) and I went on an acoustic tour of Europe to promote the re-release of the Elva Snow album on Glitterhouse Records. It was interesting going on the road again after all these years, quite enjoyable even with the flu.”

(Above: Spencer & Scott)

Are there any new bands or performers around that you rate and want to big up?
“Sure, I love Sleigh Bells, Scary Mansion, Banquets, Flotation Toy Warning, Vyvienne Long, Lux Lisbon.”

When did you start playing drums? Who were your musical heroes?
"I started when I was 18 banging around in my parents garage playing along to the Stray Cats. Later on the sound of the Jazz Messengers really caught my ear and I became fascinated with jazz drummers such as Art Blakey, Buddy Rich, Papa Jo Jones, Philly Joe Jones and sax players such as Ben Webster, but I don't play jazz just pop/rock."

When you recorded with Morrissey you worked with various big name producers. “Who did you most enjoy working with / who had the best ideas?
"I worked with Mick Ronson and Steve Lillywhite. Mick was a very sweet, quiet, humble guy. This was the first time in the studio for me, I was a total virgin, nervous but excited. He was patient with me, probably one of the best attributes for a being a music producer. Steve is an incredibly affable guy, always cheerful and a great listener. He can mold a session in a way that you wouldn't know that it was actually happening, almost like sleight of hand.”

(Above: Mick Ronson with Dame David Bowie)

What did it feel like when you co-wrote a song with Morrissey? Were you nervous/proud/excited?
“I was incredibly excited. I came to writing through a process of self discovery in my twenties. With all the tension that was growing from being on the road I felt like I needed to explore and get away from music funnily enough. I had a go at acting which was a dreadful experience. All this then led me back to music and for some reason I started to listen to classical composers, the one that turned me on to writing was Tchaikovsky. Very meekly I began to toy around with a piano and eventually that led to writing instrumental tracks. I started to put my puny ideas under the nose of Morrissey and for months nothing. I kept at it and one day he picked a track of mine which became 'Wide to Receive' on Maladjusted. I was over the moon. 'Lost' and 'Now I Am A Was' followed but sadly we fell out and that was then end of that.”

Can you remember playing the Hollywood Bowl - was that a highlight? Which other live shows stick in your head?
“I remember being on stage at the Bowl, it was quite daunting and of course very exciting. The LA Forum, major stage invasion, seeing a tsunami of people heading towards the stage, sticks down and legging it to the dressing room and lock ourselves in, outside there was a riot, again very exciting as you can imagine. But the highlight would have to be the very first show at the Bull Ring in Dublin. It was the proverbial second coming, it was just atomic, atomic, atomic.”

(Above: This photo taken from Linder's book Morrisey Shot was taken in Dallas 1991)

Are you a fan of Morrissey's art pal Linder? She has her work displayed at Tate Britain now and seems to be doing pretty well.
“I was back in London several years ago when I came across her work in a bookstore, the forward was written by Morrissey, it was fascinating reading. I love her montages which come from the punk or post punk era. Time has really done justice to her and her work.”

Did you watch the TV show "The Importance of Being Morrissey"? If so do you feel it captured what the guy is all about?
“I didn't see it.”

Did you have issues or feel uncomfortable with any of the infamous lyrics that mentioned young Asian shopkeepers "shelving their plans" or National Front Disco?
“The initial reaction I had was that of mild concern. I remember being around the stench of racism in the eighties, it was ugly and not a nice feeling. I tentatively approached Morrissey about the song but I can't remember exactly what was discussed as it was quite some time ago but it was enough to arrest any fears I had at the time. Later on of course was another matter, it took me a long time to forgive him.”

Are you still in touch with Boz and the other boys in the band? Do you know what they're up to now?
“I have not been in touch with them since Morrissey and I fell out 12 years ago. I believe that his words to them were that they were not to contact me whatsoever.”

When was the last time you sat behind a drum kit?
“Actually that was a couple of weeks ago, putting some tracks down in a writing session, but it's rare for me to play these days.”

What do you miss about London?
“I've been thinking about London lately as I don't get out there much at all these days but I miss the streets, going to old pubs, tooling around Hampstead Heath, then more pub grub!”

What ambitions do you have left?
“Ha, simple. Just to be happy and peaceful.”

What are your plans for the rest of the day?
“Going to open a bottle of vino and cook dinner for my girlfriend.”

Q & A with Liam Scully

2011-03-08T02:23:00.000-08:00

The Rebel: Were you shy and sensitive in your youth? At school were you seen as being a gentle soul?
The artist Liam Scully: "I was a boxer in my youth and I won several championships - this gave me a certain respect, however some kids would occasionally try it on, so I would invite them down the club and give them a lesson under the Queensbury rules.
I have always got along with folk and mixed with people of all ages. One of my boxing trainers Billy Lister was about 80 years old, very much like Rocky’s trainer Mickey from parts 1, 2 and 3, I used to visit his house in the summer months and do some extra training, afterwards we’d eat biscuits and drink tea in china cups. I believe boxing made me a nice and respectable boy, if I didn’t have boxing I would’ve been running with the local hooligans from the estate."

Why do you make art?
"It is my destiny."

Is there an aim to your work - are you trying to bring about change?
"Art is a bit of a pointless activity but I like that. Often when I am alone in the studio trying to paint I think about how stupid this whole thing is and I think my paintings reflect this anxiety. I sincerely believe that my work is better than about 90% of what’s being shown out there and that adds to my frustration. My work lately is displaying some of this aggravation."

How rich are you? when was the last time you bought a round of drinks in a bar?
"Rich? I dream of riches, I dream of the days when I can buy all the drinks and take my friends to the Groucho club and swim laps in Shoreditch House. I am jobless and penniless but I am kept alive by my wife, friends, facebook, private views and making art. However because we are moving to a more expensive house I can no longer afford my studio, I have to give it up, this makes me sad. A fundraiser is in order so I can buy a shed to work in when I move, perhaps you can help my cause, then I will buy a round of drinks?
Since writing that last paragraph our lovely house fell through, the landlord had us hanging on for four months verbally guaranteeing it. The bastard landlord wants more money so we have to look elsewhere – Bollocks!"

What's the best artwork you've made so far this year?
"A painting called Gob Shite Riot Pigs. I started it last year; it began as a picture of Posh Spice wearing a bandana and I called it Shit Spice. This year I reworked it into a painting of a riot police officer in response to the student protests. It shows an officer swinging a cock truncheon over her head and a shield displaying the eye of Horus. The piece also resembles the cover of Paranoid by Black Sabbath; it’s an ugly painting but it works."

(Image above: "Gob Shite Riot Pigs" by Liam Scully 2011.)
Do you have any favourite old movies that you'd be sad if someone tried to do a re-make of it?
"Cannibal Holocaust, it can’t be remade. The director was arrested in Italy after the film was released because people believed it was a genuine snuff movie. Although he asked the actors to disappear for a year after the movie was made, he was forced to call them out of hiding to testify his innocence. I can see how this movie was so convincing; probably one of the first directors to use a documentary style to convince the audience the horror was real. It is very uncomfortable viewing especially as it involves lots of animal cruelty - they could never get away with that behaviour today.
Simon Ould and I plan to remake a cannibal movie in the form of an exhibition. The show is called Mountain of The Cannibal God/Goddess (Ochre Holocaust); we just need to find a space to do it, any ideas? Tate?"

Was your art education a waste of money?
"Both yes and no, you can’t put a price on education it should be free for all working class kids and the super rich finance it through taxes. But if I didn’t pay up I wouldn’t have had the fond memories of being a student, I am still in debt and at this rate I will forever be in debt."

Do you think you're getting better looking as you get older?
"My hair is falling out and I don’t like that one bit, I wish it would grow back because none of my family was bald at such an early age. I am thinking of contacting that company that Shane Warne promotes Regain and getting sponsored as a year long art experiment. I will paint my findings over the course of the year."

Out of Duchamp, Picabia and Man Ray - who would you say you had the most in common with? Or, which of those three artists do you have the most love and respect for?
"They are all lovely artists however they have also fucked it up for the art-world at current; people are now talking about art way too much rather than making it. I don’t mind the idea of anything being art but it means you get every Tom, Dick and Harry, (excuse the last name for a moment) Tom Dick and Barry thinking they are artists. They are clearly not artists they are organisers, movers and groovers, curators, hosts etc that are saying things like “the things I am thinking about in my head is art” and “our conversation is an artwork”, please please go away! What we have is a bunch of sometimes intelligent people who have no creative bone in their body claiming they are artists. In a way some boundaries need to be re-drawn or start an artist cull.
Call me old fashioned, my last solo show was called “Culture Moved Forward While My Back Was Turned” someone said that to me once over a similar rant."

Who would you rather have as a pen pal Lenny Kravitz or Terence Trent D'arby?
"Lenny Kravitz once inspired the title of an exhibition I put on with Rory Macbeth. The show was a two man show in Leipzig. Bringing our own experience of the city into play - we recalled our car journey to Altenburg airport (a Ryan Air, air strip on the outskirts of Leipzig). Our German friend was playing a cassette tape of Lenny Kravitz, we found the whole album completely hilarious because his lyrics are so dumb. We named our show after one of his songs “The Difference is Why”.
I don’t know who Terence is."

Are you romantic?
"I think I am, that’s probably why I like to paint."

If I took you to London Zoo tomorrow which animal would you be most excited about seeing? Please explain what reasons you like that animal for?
"A tough question, maybe the Gorilla because they look wise and hard as nails. I like their blackness too, very soulful creatures. Any animal that plays the drums is cool."

What's the best art exhibition you've ever seen?
"Museum of everything part 1"

What are you bitter about? Who are you jealous of?
"Jealous and bitter are quite different things so I will start with bitter. People who make a living out of their art even though it is crap, I am bitter about that. I unleash this bitterness on my blog www.liamscully.blogspot.com but I am not jealous of these people because they are making rubbish art, I just go white at the knuckles because I know many great artists who are really struggling and that is not fair. Simon Ould and I might be dead before people take us seriously and that will be a damn shame."
Jealousy comes into play when I see brilliant art and think; I wish I thought of that! When I was at University I was predominately a performance/video artist until I had my video camera robbed. I see Mark McGowan’s work and see similarity in my old performance; I must step up the game now and return to these roots. Mark should watch out as we have just bought a TA1 Panasonic mobile camcorder!

What's best: Simon Ould or chips?
"Chips are great when I cook them but you can’t have them everyday, Simon Ould is worth seeing everyday. He makes me smile when I am feeling low. As an artist he is brilliant, he just needs some management. We are planning this show in the near future “Mountain of the Cannibal God/Goddess (Ochre Holocaust). It could be our big break!
Actually bring me a bowl of chips!"

(Above photo: Simon with Liam)

Edwyn Collins: Nature Punk exhibition at Idea Generation

2011-03-06T11:49:00.000-08:00

There will always be a place in my heart for the songs of Edwyn Collins and Orange Juice. Last thursday I saw the great man at his art exhibition in Shoreditch. It was a very well attended event. My favourite image in the show was of a pufin spreading it's wings. As well as buying Edwyn's new CD I bought some of his greeting cards which had a lovely drawing of a Robin on them. I got Edwyn to sign an old CD. It took him a while to write his own name and, as I waited, I remembered an evening many years ago when my friends and I went to see Edwyn sings songs of Hope & Despair at The Venue in New Cross (South London).
It was Spring 1991. Helping Edwyn on stage was a guitarist called Donald Ross Skinner. I remember Edwyn performing his song The Wide Eyed Child In Me because half way through the first verse his own lyrics gave him the giggles. The song began: "Just give me one good reason why you find me so displeasing and I'll gladly go the way I came but there's no method in your madness only unforgiving sadness and to leave right now just seems insane." I'd never seen a singer laugh at his own lyrics before. I also remembered Edwyn bringing out an 808 state drum machine to perform a new song from his as yet unreleased record Helbent On Compromise. Edwyn made many daft jokes. He pretended that his father was Phil Collins and claimed that the two of them had worked together on the track "50 Shades of Blue". The single had been a bit of a flop but Collins joshed that both he and Phil had been taken aback that it had gone on to be a worldwide number one hit record. Although the crowd loved him that night few would have predicted that 5 years later Edwyn's song A Girl Like You would be an international hit bought by more than a million people bought.
I was at the concert with several friends and we all enjoyed Edwyn's set. We were all A level students at this point. I remember Edwyn did a great version of Felicity (a track from Orange Juice's debut album.) I remember my friend Max didn't know about Orange Juice and so thought this was intended as a tribute to The Wedding Present. And, I remember, for an encore, Edwyn brought on a bearded Roddy Frame as a special guest. I think they performed "Consolation Prize" together before ending with "Place In My Heart". Donald Ross Skinner was on stage with Edwyn and Roddy for the last number and they took it in turns to make up new lyrics. Instead of: "Oh halaleuala - I'm gonna suck it to ya" Roddy sang: "Oh Mr Kinnock - I think you're gonna win it." And then Edwyn sang: "Oh Tommy Cooper I really think you're super."
Anyway, like I say, as I watched and waited for Edwyn to finnish signing these memories came flooding back.

(Above image: A photo I took of Edwyn on stage in 1991. Below: Edwyns 2011 signature on the back cover image of his Greatest Hits c.d)

I love all of the sleeves of Orange Juice singles that Edwyn had a hand in designing. Orange Juice records were released on Alan Horne's independent Postcard Records label. Although Edwyn hit the big time in the 90s he never strayed from his Indie roots. I remember when he was asked why he stayed on Indie labels and if the money he made from his come back single would change him he quoted a famous line from the Declaration of Arbroath:
"It is in truth not for glory, nor riches, nor honours that we are fighting, but for freedom -- for that alone, which no honest man gives up but with life itself." I'm sure he had a smile on his face as he was saying it but there's many a true word spoken in jest.

It's a tragedy that Edwyn had terrible health problems and has lost the power of his right arm. But it is brilliant that he is still making records, touring and having art exhibitions. Here are three Edwyn quotes from the press release of his current show:
1) "Ornithology has fascinated me for a long time. I can't remember when I didn't love birds. when I was a boy, I could idenify every British bird, most of them on the wing."
2) "I had a stroke, a brain haemorrhage, in 2005. I couldn't say anything at all at first and I couldn't read or write. I couldn't walk to begin with. My right hand didn't work. I'm right handed. So no more guitar."
3) "But I think my real recovery began with my first bird drawing. And now I'm showing my drawings in an exhibition. I'm looking forward to seeing them like this."

Shine on Edwyn. "See you in the charts".

Q & A with Julian Wakeling

2011-02-23T10:22:00.000-08:00

(ABOVE: A photo of Julian Wakeling by Harry Pye. All other photos are from the Julian Wakeling Collection.)

The Rebel: You were really into sending out postcard art a while back. Do you ever miss posting out your work to people?

Julian Wakeling: “Strangely no though I did like doing it at the time. I enjoyed some of the cards a lot but after they were posted there didn’t seem to be so much there for me, whereas with photographs I love them even if no one else ever sees them. I guess the postcards were as much about the people receiving them and their reactions when they picked them up off the mat. I’d like to have been there really, or been them. Anyway, I think I also felt I’d said everything I could by the end and I was in danger of repeating myself.”

2) Now you take photos in roughly the same place at roughly the same time every weekday. Do you love that part of London?

“It’s become very familiar but I love it when the sun comes out. It’s practical though. They’re the nearest areas to me: Soho, Fitzrovia, Covent Garden. I used do Bloomsbury too but I don’t so much now. Those areas are among the best for my kind of photography as well. There are lots of windows with lots happening. Some days I get tired of the same streets but occasionally there’s a kind of magic going on and they don’t seem like the same streets anymore.”

3) Do you see marks of weariness and woe in the most of the faces you see in Soho?

"I don’t know really. I don’t think I can be very observant. Or at least I’m looking for particular things, particular effects and anything else is peripheral. I like having people in my photos but really I use them as motifs and I don’t like them to be too clear. They’ve got to give up their individuality for the sake of the overall design. I catch myself looking pretty weary sometimes though."

4) What kind of camera do you use?

“I’ve got a few but mostly I use a Nikon FE film SLR. They made them in the late 70s/early 80s. It’s a lovely camera. It’s compact and feels well engineered. Old film cameras are so much easier to use and understand than digital ones I find. So few controls. I like to keep things simple.”

5) Facebook is great for getting responses to photos but do you worry about copyright issues?

“I don’t really. Maybe I’m naive, I don’t know. I do worry about this digital age of photography in some ways though, the devaluing of images through the ease with which they can be created and in such numbers. I use film because I don’t want the ability to take unlimited shots, which would devalue them for me. Also I don’t want to delete anything. And I like having the transparency, the physical original. But maybe I’m just a Luddite and people had the same fears when Kodachrome first came out, or the Box Brownie.”

6) Do photos steal people souls and does your camera ever lie?

“I suppose it’s true that you take something when you include someone in your picture, but to say soul would be getting a bit metaphysical. It’s almost like they’re actors without knowing it. I think people look rather beautiful in my pictures quite often. And it’s a fiction that’s created so there’s no lying. My camera can’t lie because it doesn’t set out to tell the truth.”

7) Did you enjoy taking photos as a child?

“Yes I did. Mostly pretty forgettable ones but one evening when I was about 10 I was out with my dad and there was the most beautiful sunset. I took a picture of it and I was so excited because it seemed like it might be the best picture ever taken. Unfortunately I managed to fog the film because I didn’t rewind it properly and then opened the camera and the picture was lost. I still think about that shot and the feeling I had at the time. The one that got away.”

8) What is your idea of beauty in nature?

"That’s difficult because to find nature you usually have to get in a car and when you’re there you’ve got civilisation in your head so it’s impossible to experience in a true way, if there is such a thing. There’s a remembered paradise lost of childhood experience of nature. I wish I could have that innocence back. I kind of feel that I wouldn’t want to have me in a natural setting now. I’d only spoil it with my thoughts. Having said that, I once walked through the Horniman Gardens in Forest Hill on a summer’s day and I thought it was utterly beautiful, like the Garden of Eden. But that’s a park, does that count as nature?"

9) What is your idea of beauty in art?

"Do you mean fine art? I’m quite old-fashioned. A lot of modern things seem gimmicky and attention-seeking to me and rather shallow. The National Gallery is full of beautiful stuff. Tate Britain has some great things too, like Stanley Spencer’s Zacharias and Elizabeth. Such a great feeling of place to that picture. I like paint. I think it’s really exciting when a brushstroke can describe something and still be recognisably a brushstroke. I try and get a similar effect in my photos sometimes by using a reflection in a window that has a textured surface behind it, so the two merge."

10) If you were Mayor of London would you make everyone buy your photos?

"I think being the Mayor of London and thus well known would make it very difficult for me to be unobtrusive on the street. I have a hard enough time as it is. I might have to stop altogether. So maybe I would make everyone buy my pictures. It would be the least they could do to compensate me."

11) Is your work a bit pretentious?

"I’m finding it hard to think of a photograph that is pretentious to be honest. I’m not certain it’s possible. I’m sure I could make absurd claims for them but that would be me being pretentious, not the pictures."

12) Do you think you're getting better as a photographer?

"I’m kind of banking on it. I’m getting more selective certainly so I think I take fewer bad ones. But good ones often seem to come from nowhere and it’s hard to tell afterwards what you did right. You can never predict them. I used to take lots of pictures and get good ones that way eventually. That was when I did digital. It didn’t seem satisfying though and it was hard to tell if I was improving. You could argue it’s all about results but I like the process too and that’s getting better now that I use film. It feels like a more significant activity than it did. But it’s still a case of fail again, fail better most of the time, to quote Beckett."

13) Are you scared of the darkroom?

"Not at all. When I was at college the darkroom was the best place to be. It was in the basement and was so peaceful and quiet. I don’t have a darkroom now because I shoot colour slides but in a way you have to have a kind of cool darkroom mentality at all times when you’re photographing, even in the maelstrom of the street. Your head has to be your darkroom."

14) Is what you do as much to do with science as art?

"It would be pretty poor if it was a science as nothing is learnt and nothing can be proved or predicted. So no. There’s a philosophical side to what I do though if you like. I’m interested in thinking about time and memory, which are big parts of being. You inevitably come across this if you photograph like I do. But it’s not systematic and I don’t really come to any conclusions. Anyway the images are the main thing."

15) Who are your favourite photographers?

"That would depend on my mood but if I had to choose one photography book to take with me to a desert island I might go for one of postcard photography by the John Hinde Studio photographers, including John Hinde himself and others whose names I can’t remember sadly. Anyway, they did photographs for postcards sold at Butlins holiday camps in the 1960s and 70s, as well as other holiday locations. The Butlins ones are especially beautiful and feature real people in often quite strange and fascinating posed scenes. They weren’t meant to be art, which is why they’re so good."

16) What was the best photo you ever took in New York?

"Hard to choose. There’d be a handful of contenders. There’s one I really like of reflections in the side of an ambulance in Canal Street, which is a very busy street downtown full of shops selling cheap jewellery. A woman had blood coming from her head and there was a big fuss with police and paramedics. I asked a street vendor what had happened. I suppose if I’m honest I wanted it to have been a robbery. But he said she’d just fallen over, rather dismissively. I realised it would be tricky to photograph head on, so to speak, and also not interesting for me anyway but then I saw that the scene was replicated in the ambulance so I went for that. I got the umbrella from the vendor’s stall and the ambulance, that’s all. It’s a very quiet picture with the crowd reflected in a ghostly way like a painting."

17) Which city would you like to travel to and make work?

"I’d love to go back to New York. Somebody I know from the Midwest of America suggested Chicago as a place to photograph. I love the pictures Ray Metzger has done there, and of course Harry Callahan. I’ve also got a nice book by a photographer called David Robinson and it’s of photographs taken in Rome and Venice in the 1970s, lots of reflections. Makes me want to go to Italy. You see, I don’t have much imagination. I just follow other people."

18) What's your favourite Julian Wakeling photo?

"There are many but one that stands out is of a woman reflected in a pub window as she walked by one lunchtime in April. The window has that wire reinforcing you get in windows in institutional buildings and this gives the impression that she’s wearing a veil. The light behind her face is actually provided by a notice on an adjacent window that said Toilets for Customers Only. I caught her at just the right moment, when her face passed the sign. Without that it would have been too dark. I just remembered someone beautiful appear in the viewfinder for a second before vanishing. I tried to hang on to the memory till I got the film developed. She didn’t seem to notice me even though I was only a couple of feet away. I pressed the button and luckily the picture came out, unlike the sunset all those years ago."